Search Results

By Flapper Press Poetry Café: The Flapper Press Poetry Café continues a new series of articles about favorite lines of poetry and the poets who wrote them. We’re reaching out to poets, writers, and lovers of poetry to submit their favorite lines of poetry and tell us why you love them. Check out our submission guidelines and send us your favorites! We'll feature your submission sometime this year on our site! This week, our submission comes from Bonnie Boyles. My mistress’ eyes are nothing like the sun; Coral is far more red than her lips’ red; If snow be white, why then her breasts are dun; If hairs be wires, black wires grow on her head. I have seen roses damasked, red and white, But no such roses see I in her cheeks; And in some perfumes is there more delight Than in the breath that from my mistress reeks. I love to hear her speak, yet well I know That music hath a far more pleasing sound; I grant I never saw a goddess go; My mistress, when she walks, treads on the ground. And yet, by heaven, I think my love as rare As any she belied with false compare. —William Shakespeare, Sonnet 130 From Bonnie Boyles: I read this sonnet in my freshman year in college in California. I felt like this sonnet helped me realize I’m free to be me and there was someone who will love me no matter my faults and lack of beauty. When I read this decades ago, I interpreted the message as more beyond surface appeal. Beauty is, indeed, in the eye of the beholder. Honestly, I’m not a poetry reader, but there have been ones that totally hit me in the solar plexus throughout my life when studying literature. To read more about William Shakespeare and his sonnets, visit: The Folger Shakespeare Library No Sweat Shakespeare Royal Shakespeare Company Bonnie Boyles has spent the last decade focused on youth swimming at KC Swim Academy & Infant Aquatics, Inc. She believes that swimming is the only sport that can save one’s life, and she passed her love of the sport on to her two children throughout their many years of competitive swimming. When she isn’t on the pool deck running swim meets, Bonnie enjoys having margaritas with her CODA recovery mom friends and watching zombie movies. The Flapper Press Poetry Café Presenting a wide range of poetry with a mission to promote a love and understanding of poetry for all. We welcome submissions for compelling poetry and look forward to publishing and supporting your creative endeavors. Submissions may also be considered for the Pushcart Prize. Please review our Guidelines before submitting! Submission Guidelines

By Elizabeth Gracen: My friend Hilary Thomas is unrivaled when it comes to sheer artistic output and vision. Offering an impressive catalog of original dance, drama, comedy, and musicals, her ultimate creation—The Lineage Performing Arts Center (LPAC)—continues to unfailingly produce outstanding entertainment that beats with a fiery heart and unflinching ability to highlight and challenge life’s most pressing issues. Thomas has written, directed, and produced some of the most powerful theatre in the Southern California region, such as After Roe, Mother Places, Ceiling in the Floor, Arc of Evolution, The Brain in Motion, and more. So when I asked her why she’d chosen the ever-revived morality tale of Cabaret as her next LPAC endeavor, she didn’t hesitate to throw the spotlight on the carefully curated Lineage family that she has assembled, nurtured, and collaborated with since the inception of Lineage—a 501(c)(3) nonprofit arts organization with a mission to make the arts accessible to all and to partner with other nonprofits to raise awareness and funds for important causes. “We have a ridiculous amount of talent here, but we don’t have a lot of space, and we don’t have a lot of money. Our productions are always heavy on the dance component, so it’s always a challenge to figure out what will work. It's not like we can transform the theatre into a small town in Oklahoma!” laughed Thomas. With the usual LPAC stable of artists at her disposal, Thomas instinctively knew that transforming LPAC’s black box performance space into Cabaret’s Kit Kat Club somehow felt like a natural fit. With Aidan Rawlinson and Jana Souza available to take on the parts of the Emcee and Sally Bowls, respectively, and the talented Lineage Dance Company to work their magic, she knew that they could pull off an original, intimate production that would elicit audience immersion (another Thomas fascination) into decadent late 1920’s Berlin and the Weimar Republic’s ever-tightening fascist fist. “There was a cabaret, and there was a master of ceremonies, and there was a city called Berlin in a country called Germany—and it was the end of the world.” —Cliff Bradshaw, Cabaret, Act II A dark, cautionary tale set against the backdrop of the Nazi Party's rise to power, Cabaret’s sinister Emcee welcomes us to take a seat and forget about the world outside and all those “prophets of doom.” The decadent distraction of the Kit Kat Club and its shady characters cloak all worries in a murky promise of carnal delights with the unforgettable music by John Kander, lyrics by Fred Ebb, and book by Joe Masteroff. “Come taste the wine, Come hear the band. Come blow your horn, Start celebrating; Right this way, Your table's waiting.” —John Kander, Fred Ebb, & Jean-Claude Cosson, "Cabaret," Cabaret The history of Cabaret is an oft-told tale that has been revived and renewed over time. Unfortunately, its message must be told over and over again, lest we forget that history repeats itself as we willfully turn our gaze away and lend an ear to authoritarian whispers. For some, the 1972 award-winning big-screen adaptation directed by Bob Fosse and starring Liza Minelli is the first reference that comes to mind when they think of Cabaret, but the play has been around for much longer. Based in part on Christopher Isherwood’s novel Goodbye to Berlin that appeared at the end of World War II, it was later adapted for stage during the McCarthy Era as I Am a Camera. The original musical version of the play premiered during the Vietnam War, and Fosse’s sultry, star-powered version hit the big screen during the dark days of Watergate. It goes without saying that 2024, with its political unrest and flirtation with nationalist ideas, fits appropriately on the play’s revival timeline. The musical opened on Broadway in 1966, but a steady stream of revivals have been produced in America and England, with yet another Broadway revival planned for 2024 starring Eddie Redmayne and Gayle Rankin. For the Lineage production of this tale told in the waning light of the Jazz Age, Thomas has partnered with long-time friend and collaborator Austin Roy, who serves as co-director for the show. “Austin was the Emcee in the high school production of Cabaret when he was a student at Flintridge Prep, where I teach, so it was terrific to have him step in and work on this particular production with me—our first time directing together. My head has been in a million places trying to wrangle all the artists, musicians, actors, dancers, plus dealing with the business end of the production. It’s really wonderful to have Austin focus his talents on the acting aspect of the show. We are very much in synch, and I feel very lucky,” said Thomas. Any production faces obstacles before opening night, but launching this new production of Cabaret entailed a particular set of challenges. “Honestly, the biggest challenge has been getting everyone in one place at any given time,” said Thomas. “It’s a big cast. We now have five chorus girls, the on-stage band, seven dancers, and seven actors. It’s a lot of schedules to coordinate. For a lot of the rehearsal period, Austin and I would visualize and rehearse all of the separate elements of the play with the performers, but we didn’t have the opportunity to have everyone together until recently. Up until then, we just had to mash it together in our heads to envision the final piece. . . . Fortunately, it looked pretty great!” For the star, Aidan Rawlinson, based in NYC, his participation started in the summer of 2023 when he came back to Pasadena for a visit. Another window of rehearsal opportunity opened up for him during the Thanksgiving break, followed by remote Zoom rehearsals. “Aidan is such a special performer. When you hear about triple threats in this world . . . I mean, I feel like so many performers lean heavily in one direction. They are a singer first and foremost, or a dancer, but Aidan is both. He is so compelling to watch. Just wonderful,” said Thomas. Staple star performer for Lineage Jana Souza returns to the stage in an actor’s dream role of Sally Bowls. “Jana enters the process in a wonderfully egoless way. She makes all of the songs so incredibly beautiful, but there is just so much going on with how she approaches the character. She is so trusting and willing to go in whatever direction. She’s also so easy to work with, and she’s a true performer. And on top of everything else, she’s the first one to show up and say, ‘What can I do? How can I help?’ And she’s the star of the show!” Thomas said. “Everyone involved is truly supporting the production and holding it up, and Jana truly leads the way.” This work ethic and careful tending to all things Lineage is not uncommon at the arts center, located at 902 E. Mountain Street in Pasadena, CA. I’ve been fortunate enough to work on many a production with the group and have always said that Lineage is a creative portal for performers and audience members alike. When you enter that portal, you find a safe space, an environment that nurtures its artists and respects its audience. That is something deserving of the most loving care and attention. When I asked cast member and long-time part of the Lineage family Cynthia Crass what her reaction was when Hilary invited her to play the character of Fraulein Schneider, landlady to Sally Bowls and Cliff Bradshaw, Crass said, “My usual reaction to when Hilary calls with an invitation—THRILLED. On many levels. One, I love this show. Two, it’s a great character that I am now old enough to do justice to. And three, it’s a Lineage thing, and my heart always benefits from being in the Lineage family.” In the director’s notes for the upcoming show, Thomas credits her “giant army of talented artists, dedicated staff,” and her frequent producer, Peggy Burt, for bringing the show to fruition. Alan Geier and his band serve as onstage Kit Kat Club music. Dancer and set designer Ericalynn Priolo has stepped in to transform the space into the Kit Kat Club, and curator Theresa Kennedy provides artful historical context in the Jeanne and Cliff Benson Family Art Gallery outside the performance space to assist in the complete immersion into the seedy shadows of the Kit Kat Club and Berlin, Germany. To round out the production, Paul Siemens takes on the roll of Herr Schultz, with Dustin Stern-Garcia, Keila Joy Fisher, Marco Tacandong, David Hemphill, Sam Wilkes, Brittany Daniels, Caterina Mercante, Teya Wolvington, Molly Mattei, M Cantu, Sol Joun, Diana Leon, Sophia Kaminski, Courtney Simpson completing the cast. Pianist Alan Geier is joined by musicians Jacob Bell, Ruth Siegal, and Sherwin Zhang. Crew members include Mike Testin, John Guth, Noelia Cortes, and Jennifer Quiroz. The production is made possible by the Featured Production Sponsors: the Burt family, Nina Gutin, the Guyer family, Terry and Jeanie Kay, John and Jo Schillinger, Jeannie Vaughn, and Daria Yudacufski. Come out and play with Lineage and Cabaret, January 12–20, 2024. Get your tickets while you can. Schnell! Visit the Lineage Performing Arts website for more information and to make a donation to this fine arts nonprofit organization. Elizabeth Gracen is the owner of Flapper Press & Flapper Films.

By Annie Newcomer: As we count down to Valentine's Day, love is in the airwaves. Celebrate Valentine's Day in our Flapper Press Poetry Café with a submission to our annual Flapper Press Juliet Contest. Contest Guidelines 1. Choose a line (or two) from a favorite song and incorporate it within your own original poem. You may use whatever form of poetry you like: prose, rhyming, sestina, sonnet, free verse—you decide! 2. Submit your poem by email to: info@flapperpress.com In the subject line, you must include: Your name Title of your selected song Title of your original poem Date Example: Joanie Smith—-"All of Me" by John Legend, "Title of Your Poem" 12.18.23 3. We will announce FIVE selections to feature in a Flapper Press article for Valentine's Day. 4. Each of the five selected poets will be awarded $25. Deadline: Friday, February 9, 2024 By submitting, you agree to have Flapper Press publish your poem. FAQ Q. May I submit more than one poem? A. Yes, but each poetry submission must be sent in a separate email. Q. Is there a charge to submit? A. There is no charge to submit. Q. May I submit an original song? A. Yes. If possible, please also include the music for your piece. If you have more questions, please email us at info@flapperpress.com. The Flapper Press Poetry Café Presenting a wide range of poetry with a mission to promote a love and understanding of poetry for all. We welcome submissions for compelling poetry and look forward to publishing and supporting your creative endeavors. Submissions may also be considered for the Pushcart Prize. Please review our Guidelines before submitting through our regular Submission process! Submission Guidelines

By Tom Squitieri: The Press Club bar closes early now, to the regret of many of the dwindling number of old timers. The younger members were full of energy as they dashed out to begin a weekend of holiday parties. The bar emptied as quickly as if it were 40 years ago and a hot story just broke. I thought I would sneak out and go down the hall and maybe pretend to find the once-hidden 24/7 poker room. No such luck. The efficient staff was already cleaning up and making sure all were leaving; they also had parties to burst forth later. So I did what comes naturally on a dark, windy evening in downtown D.C. I walked though the streets of our beautiful capital, remembering the history made—shivering from both the Potomac River wind and the visions of what I sensed was coming. As is often the case, I rambled toward the monuments and wound up near my namesake, Thomas, at his memorial near the river. My hope was he may have offered up wisdom to my tiring eyes and my shaking soul. Across the river, the Pentagon stood in subdued light, looking like a fortress from the outside. Yet I knew better. Even there, the system was crumbling, and false words tried to make everyone sound brave and smart. No doubt they were patting themselves on the backs for their new promotions and laughing smugly about how they evade reporters’ questions. “You wrote something before, Mr. Jefferson. Several things, actually, to pull together an unruly bunch into one voice. Please do it again,” I said to his stoic statue. He merely looked forward, out at the Tidal Basin. “He is not going to answer you,” said a faint voice from behind me. “Even they are unsure what to say.” I turned to see the Old Geezer, moving slowly, his eyes sunken and his breathing halting as he slowly walked up, paused, and sat on the marble steps. “That is my fear also, Old Geezer. That the wolves that sit outside the house of democracy finally have the key, and they have determined how to guide the sheep to dinner,” I said. The Old Geezer finally made it to the top of the steps. I had not seen him for a few years, years that had taken a toll on the country and on most of us. He seemed shorter this year, more bent over, but his smile reappeared as he pulled an old flask from his pocket. “Isn’t it fun to still break national park regulations,” he said as he took a taste, then handed me the metal container. I took a sip and recognized what I thought was a long-lost elixir—moonshine from the hills of Western Pennsylvania. It warmed my body and, at least for the moment, my spirits. “That taste reminds of days when politicians were not a threat to democracy, when reporters were not targets all over the world, where challenges always eventually met with teamwork,” I said. The Old Geezer sniffed and wiped my mouth with a handkerchief. “Those days are in a hibernation that extends long past the natural winter, Tomaso,” he said. “Everyone hoped—and that is the word, 'hoped'—that 2023 would be 'normal' again,” I said. “Well, it is, but not the normal they expected or wanted. It’s the normal where the bad guys wear the badges and the dwindling number of good guys have no idea what to do.” He took another sip and looked again at the water. So I continued. “I thought the nightmares of the past were aberrations. That ethnic cleansing and war rapes were not going to happen again, that the last elections were to correct the course, that the words of those honored here would ring loud and true again, and rouse the slumbering to see the nightmare that is unfolding. But I feel this is a Planet of the Apes scenario, where I am going to wake up soon and see things that once meant greatness are graveyards.” “The wrong things have been emancipated,” I said. “We are living in country now where the information we need to govern ourselves has been replaced by political spin and propaganda, hate and vile bravado.” “What are your dreams telling you, Tomaso,” the Old Geezer said.  “Have you learned to listen to them yet?” I nodded yes. “Very much so, and yet unclear. They show turmoil and voices from the past trying to help. Reporter friends reappearing, offering smiles, and even phone numbers, and reassurance but then leaving with no pathways. Lots of trips to places that seem to be on Earth but are on no maps. “And there was even a call on a land line, with man’s voice—not computer calls—saying my name, as if pleading for help, or warnings.” The Old Geezer took another sip and said, “And I bet you did not respond.” He knew. “No, I did not,” I said. “I was hoping that what you told me once—that the quieter you become, the more you are able to hear—would work.” He shook his head no and looked at Jefferson. “Those once wise guidelines are perforated,” he said. He turned to me. “You have to work harder than ever before and strip it all away to think clearly and wisely now, Tomaso.“ My turn again to take a sip. “You know, Old Geezer, when I was a little boy, I used to run as fast I could from the darkened basement, afraid of the monsters that I knew where there, only to be laughed at by my father. ‘There is nothing there to be afraid of,’ he would say. “Well, I am no longer afraid of the dark. In fact, sometimes I long for it, for I see much better in it. And those monsters are still there.” The Old Geezer nodded. “They were always there,” he said. “You just knew how to get out of their grasp before. “Don’t let them catch you now,” he said. “Many are obvious . . . but many remain hidden just around the corner as you walk your dog.” We were quiet for a moment, and the Old Geezer looked back at Jefferson. “You know the conflagration that will come,” he said. Then I had an idea. “Old Geezer, we cannot save the world tonight, but we can save a few old trees. A friend sent me a note saying how the police department in her city told her that the left-over trees from their annual tree sale would be free, lying on the ground at a street corner. That seems to be the perfect conclusion for how the year transpired—good things tossed aside. So let’s go grab them and decorate them all and keep some bright lights glowing.” The Old Geezer nodded. “A good idea from you, Tomaso. I guess miracles can still happen. You go get the Jeep, and I will wait here.” I walked slowly down the slick steps, as I listened to the Old Geezer impart some more wisdom with Jefferson. Soon, though, his voice faded, and as I walked by the other monuments, I heard Dr. King praying for a new dream and FDR voicing about a new fear as they struggled to find words and a way to heal a plummeting, broken nation. And I heard Lincoln crying. Tom Squitieri is a three-time winner of the Overseas Press Club and White House Correspondents’ Association awards for work as a war correspondent. His poetry appears in several publications and venues. He writes most of his poetry while parallel parking or walking his dogs, Topsie and Batman. www.redsnowltd.com www.tsnavigations.com @TomSquitieri

By Angel Lopez: It’s rather easy to give up on a dream. Sure, the process comes with a ton of trying first. Or beating yourself up when things go wrong. Or just plain living in denial that you ever had a dream to begin with so you don’t have to think about how it never manifested into your reality. But somewhere in there, you find yourself able to just procrastinate or get caught up in other areas of life to the point where the dream goes away. Or you let the monsters of self-doubt or apathy invade your headspace to the point that they just become permanent residents, causing all interest in your dreams to vanish into smoke. You also may just get tired. Going after a dream starts to feel like insanity. That thing you felt was your purpose here on Earth seems like a childhood fantasy that’s now gotten out of hand. Maybe it’s just time to let it go. Or is it? You’ve probably already had a dream come true in your lifetime. It may not have turned out exactly the way you’d envisioned or wanted, but you got it. So why would you think that the one bigger dream you have is impossible to achieve? It’s just bigger, perhaps. Remember that climbing a mountain comes with a lot of little hills, where you have to stop along the way to catch your breath. Perhaps, you’ve just needed a moment to catch your breath. And it could even be that in that time, your dream has evolved. The big picture you had for your life has taken somewhat of a different shape, one that suits your needs and hopes right now. Take a pause this Capricorn Season to get present with your desires. Sometimes you’re going after something that an old version of you concocted, when the person you are now could care less. Why would you push yourself down a road that no longer holds your interest? Just to prove a point? Take this moment to get extremely present with yourself and ask: “What is the big dream that I want to manifest into being for my future, and why?” And be really honest with yourself. Is your ego holding on to something that is no longer necessary? If so, what’s the dream now? And if not, then what behaviors have you been allowing to contribute to the delay of your dream? How can you change the landscape of your mind to accommodate more passion, more conviction, and more confidence for what you believe in your heart to be true? Read for your Sun sign but also check your Rising, if you know it. ARIES How is the work and life experience you’re engaging in contributing to the legacy you will one day leave behind? Now, please don’t think this question is meant to invite a morbid affair. In fact, this curiosity is intended to induce some daydreaming about all the life you have left to live and how you’re going to choose to fill it. Will you want the world fondly thinking of you as someone who tirelessly went after what they desired, regardless of any adversity? Or will you want people to think you were someone who was nice but didn’t try too hard, more excited to fade into the shadows than make a difference? Yes, you could fade into basic oblivion if you like. But maybe challenge yourself to start acting as if the world will be talking about you someday and make your decisions from a place of active interest in what they’ll have to say. TAURUS If you were a religion, what would be the five core tenets to live by? Your life will benefit from getting incredibly clear about what beliefs and values motivate you. If you can get more honest about that, then you’ll begin to see where any disconnect in your life is stemming from, causing any motionless progress or lack of fulfillment. You may find that you’ve built some major systems and relationships into your life that don’t actively support the goals you have. And to get that forward movement, you have to accept the truth of what you see. You may find that the elements of your life that aren’t in alignment with your core truth would be unbelievably challenging to dismantle. And you certainly don’t want to turn your whole life upside down. But if that demolition is going to make you happier, wiser, and more successful in the long run, isn’t a little chaos worth the eventual peace? GEMINI You’re such a people person and process so much of life through the relationships you keep. But there’s a slight pitfall in that. You can sometimes turn outward when it comes to placing blame on why things are struggling to come together. You may make everything everyone else’s fault. The world is a mess, therefore so are you. But what if you could shift that sentiment to see yourself as the mess that is easily cleaned up once removed from the world, and company, you’ve just gotten used to keeping? This doesn’t mean you need to now sit in a bunch of shame and blame around all your problems, nor do you need to fully clear the decks when it comes to your relationships. But it is necessary that you get under the skin of why you’re drawn to who compels you and whether you’re using them as a distraction from the greater questions that would solve some deeper dilemmas. CANCER You’re like an emotional sponge who easily picks up on another’s energies to the point that they merge with yours and shift your own energy, for better or worse. But if you don’t have a proper cleansing ritual, then you’re just continuing on with their anger, sadness, or confusion stained all over you, making you feel angry, sad, or unsure. Your goal is to give yourself a spirit bath. Or, better yet, you need an energetic spa day. Take a day off to disconnect from others and plug back in to your own heart’s desires and joys. Find a little distance from those whose emotions hold power over you so you don’t have anyone to worry about but yourself. You could also utilize some practical energy clearing tools like palo santo, selenite, or a good old-fashioned bath. Anything to get off the invisible gunk you may be sitting in. This will help you step into your next chapter feeling refreshed and refocused. LEO Could you do an even better job of approaching each day like an artist stepping toward an empty canvas? If you’re feeling like that is a completely alien way of moving through life, then you may have a little more work to do than you realize. Because if you’re not moving with this type of excited imagination, then you may be feeling rather blah with the state of your being. So shake things up and give that different style of living a test drive. Now, if you’re already entering the day with a brush in hand and an eye toward creation, then you may benefit from expanding on your vision and your way of advancing in order to generate an even more exciting flow. Regardless of where you are in this process, know that now is an incredibly ripe time to start to bring changes into your life where you can feel more in control and find some more fun. VIRGO There’s been some necessary focus on family and home, particularly in the level of responsibility you hold in those areas, and you may be struggling with some overwhelm when it comes to holding space for the people you love. The trouble is, you love so deeply that the feeling is potentially uncomfortable to you. That makes it hard to stop holding space. You look at everything like a job to accomplish, and your relationships are no exception, so you will do what it takes to get anything done for someone who holds your heart. However, you may be giving away too much of the time, energy, and love that could be going into some passions of your own. Can you take a step back from the other people in your life and make room for the relationship with your own enjoyment, interests, and creativity? They won’t fall apart if you take more time for what you love outside of them. LIBRA Your job is to take a trip down memory lane and make a list of all the great lessons you’ve learned so far in this lifetime. Okay, I know that sounds like the most ridiculously daunting task that anyone’s ever asked of you, so let’s just start with the last 10 years. Consider what the most powerful experiences were of each of those years and then boil down a lesson that came through, regardless of whether you actively learned and integrated the truth of it into your life. The reason being, you have the chance to really learn from your mistakes right now and move beyond holding on to them. In fact, you could actually change those behaviors that have kept you stuck if you could just value the truths of those lessons more than you value any of your stubborn routines. And it’s more so mental habits that need to transform. So use your history to see where a lesson didn’t fully land and change your mind to learn it once and for all. SCORPIO You’re entering a period where you can really put some strong intention and motivation into what it is you want to be accomplishing, but you have to get your mind in the game. This is going to come when you eliminate the unnecessary distractions from your daily life. Put the ritualistic habits in the drawer for a few weeks. And put your phone there too while you’re at it. You don’t need to be wasting valuable time with frivolity. You hate frivolous shit anyway. Start to take your thoughts more seriously and focus your time and energy toward whatever it is your ideas are asking of you. Feel the excitement of accomplishment compelling you forward. And do not let any sort of lack come into play. No lack of faith in your goals. No lack of ambition. No lack of enthusiasm. You deserve a moment of true abundance. Believe that! SAGITTARIUS Your focus is going to be on your resources and money, what goes into pulling it in and how it interacts with your feelings of inner worth. For one, you may at times feel like your sense of value outweighs the number on your direct deposit, and that’s probably true. But don’t fall into the trap of spiritual speak where you’re told that your money situation is a reflection of how much you love yourself. That is some bullshit designed to help sell someone’s book or workshop. The reality is the economy and the patriarchy are troubled systems that we cannot avoid. It’s in our societal DNA that we were all born into. Your job is to indicate just how much of a hold that societal mentality has on you and to make sure you’re not making foolish decisions that stem from a place of feeling worthless. We can tell ourselves we’re buying the expensive thing to honor ourselves when we’re really just hoping for the unnecessary approval of others. And you don’t need it. CAPRICORN You’re truly one of the most capable signs in the Zodiac, able to solve the major problems of your life to great success, and that’s a blessing and a curse. On the one hand, you can overcome any obstacle, even if the process rips you apart. You can balance heart and practicality, knowing when to lead with emotion versus common-sense. And you’re a beacon of resiliency, adept when it comes to dusting yourself off and getting back into the fight. However, the curse part comes with you expecting the most of yourself because you know your ability. You can be so hard on yourself, critical without sensitivity, and now is the time to learn how to treat yourself better when it comes to process. What words of encouragement could you be offering yourself on a daily basis? And can you recognize that some things don’t happen because it wasn’t meant to be and something better is on its way? AQUARIUS This is your time to remember that you are a spiritual being having a human experience. That’s not meant to entice you to detach further from reality, a practice I know you enjoy. Really, this is supposed to excite you to spend more time with the spirit layer of reality, to move through all of your experiences as if in a dream, where anything is possible and magical occurrences are possible at any moment. Remember, you’re the rebel of the Zodiac, so do a little rebelling against the structures you’ve put into place up ‘til this point and invite in a little bit of the unknown. You would benefit from making less plans, rolling with the punches, and saying yes with your heart when your mind says no. Talk to your soul more and take its lead. The only real direction you should be taking right now is from that special part of you. PISCES You really would be comfortable just moving through life without any actual direction or major responsibility. That’s not to say you’re not good at those things. It just means that if you could, you’d take a year off and vagabond down whatever path had the most promise for a good outcome. And that may be sounding incredibly good right now, since you may be feeling like you have a little more on your plate than you’d like to be accountable for. Try approaching all of your duties with a little bit of that whimsy and really try to wrap your head around whether you’re honoring your truest aspirations with the life you’re currently living. Is everything adding up to a potential future you can be excited to have, or are you making life harder by doing too many things you actually don’t enjoy? Build yourself a life that gets you closer to living with that freedom you know you need to fully thrive. Angel Lopez is a film producer, writer, astrologer, and co-host of the podcast, THE SPIRITUAL GAYZ alongside his husband, our Spiritual Guru Brandon Alter. Angel has been studying and working with both tarot and astrology for twenty years. He hosted the astrology web-series, ASTRO TALK WITH ANGEL, and writes the blog ASTROLOGY REALNESS. He has also had pieces published on Upworthy.com and The Huffington Post. On the film side, Angel produced the Sundance Film Festival award winning film DEAR WHITE PEOPLE, as well as the features THE DINNER and STATE LIKE SLEEP. He also wrote and directed his own short film, I CAN’T WITH YOU, which had its premiere at the 2016 HollyShorts Film Festival, and he recently finished producing filmmaker Justin Simien’s second feature, BAD HAIR. Visit www.thespiritualgayz.com to learn more. To sign up for The Spiritual Gayz newsletter click here.

By Elizabeth Gracen: The end of any year is cram-packed with moviegoing opportunities as Hollywood rolls out critical darlings and glossy filmic creations released just in time to entice Motion Picture Academy members to look their way for awards recognition. For a film lover, it's a terrific way to end the year with so many movies on steaming platforms and, even better, the big screen. If you’ve read either of my other articles in the Concert Film Trilogy featuring Taylor Swift’s The Eras Tour or Jonathan Demme's and the Talking Heads' concert film masterpiece Stop Making Sense, you’d know that I am a lone wolf matinee-movie junkie who relishes the “me time” of a good film and a giant bucket of popcorn. It is the quickest reality escape that I can think of to reboot my brain and delight my belly. With just a tap of my AMC app and a five-minute drive to the local cinema, I have my pick of theaters—my favorite being the Dolby Cinema with its widescreen, amazing Dolby Atmos sound and plush recliners. If I plan it just right, I usually have the front section of the theatre all to myself in the middle of Row C for that private screening/perfect movie-junkie fix. Saving the best for last, it’s time for Renaissance: A Film by Beyoncé. The only film I’ve screened twice on the big screen this year, it was great fun to watch it again with my eighteen-year-old daughter—a die-hard Beyoncé fan. I remember the days when I first introduced her to the glories of Queen Bey in 2011 with the music video “Run the World (Girls).” At the time, I got some flack from one of my best friends because he thought the music video was too sexualized to show a 6 year-old, but I couldn’t resist unveiling the female empowerment message and the kick-ass energy of a true diva. Needless to say, it made an impact that stayed with her. So, no regrets. It’s always interesting to screen a big, complex film for the second time. That fizzy newness fades just enough to visually dive deeper into the mechanics of how a film is put together. With Renaissance, this concept takes on a whole new meaning, as Beyoncé (the director, producer, and star of both the tour and the film) allows us behind the curtain to see the bones, the blood, and the heart and soul of what it takes to mount a production of this magnitude. Note: Aside from the official trailer, there are no available clips from the film. All embedded videos have been selected from the plethora of fan footage from the tour found on YouTube. Every aspect of this documentary/concert film is designed to showcase the sheer power of the artist, her work ethic, and her visionary skills. Calculated to wow and delight us with the expected spectacle of her showmanship, Beyoncé is not satisfied with reminding us of what Rolling Stone magazine has deemed one of the greatest vocalists of all time. For this film, she has set her sights higher. The arduous four-year prep for the worldwide concert tour that celebrates her critically acclaimed 2022 Renaissance album has been carefully considered to unveil the inner-workings of the production and a brief insight into the personal life of the star, as well as the struggles with crew and family—a sign of a savvy filmmaker with an impressive film résumé to prove it. If you didn’t already know it, just let Beyoncé tell you herself: "I feel like, being a Black woman, the way people communicate with me is different. . . . Everything is a fight. It’s almost like a battle against [your] will. . . . Eventually, they realize, 'This bitch will not give up!' " —Beyoncé, Renaissance: A Film by Beyoncé The dazzling edit flashes showcase the tour set construction, backstage mechanics, ecstatic crowd shots from all over the world (primarily focusing on her strong and beautiful LGBTQ+ fanbase), and the powerhouse performance by musicians, dancers, and the diva herself. The only true competition for her unbelievable vocals is her awe-inspiring wardrobe. With over 140 “looks” from high-fashion and lesser-known designers, the variety of fashionable visual candy allows us to gorge on the creations from the likes of Fendi, Versace, Marc Jacobs, Pucci, Gucci, Jimmy Choo, Feben, Maximilian Davis for Ferragamo, Olivier Rousteing for Balmain, Ibrahim Kamara for Off-White, LaQuan Smith, and Ivy Park—the pièce de résistance arriving toward the end of the show when Bey pays homage to her Beyhive by dawning a custom Mugler-designed bee costume as she sings “America Has a Problem,” joined by the one and only Kendrick Lamar. Despite the glamour and glitz of a breathtaking production, the documented intricacies of a massive concert extravaganza never overshadow the Queen’s vocal prowess. With a 35-song setlist that begins with the classically toned down "Dangerously in Love 2" and “Flaws and All,” the show shifts gears and expands with eye-popping visuals and full-stage disco-ball shine, ramping up the energy for the Renaissance album hits “I’m that Girl,” “Cozy,” “Alien Superstar,” “Cuff It,” “Energy,” “Break My Soul,” "Plastic off the Sofa,” “Virgo’s Groove,” “Church Girl,” “Thique,” “All Up in Your Mind,” and “Pure / Honey.” She also revisits familiar hits such as “Formation,” “Diva,” “Run the World (Girls),” “Crazy in Love,” “Drunk in Love,” and many more. For those not familiar with Beyoncé’s personal life, we get an up close introduction to her eleven-year-old daughter, Blue Ivy, who accompanied the star for part of the world tour. We’re allowed in to witness Blue Ivy’s desire to perform on stage, her mother’s initial resistance, and Beyoncé's eventual decision to let her daughter perform in front of crowds sometimes numbering 70,000 people. It is a short dramatic arc on film for what was a monumental growth spurt for the young girl, her wings unfurling with each performance as her confidence grows, her skills as a performer finding sure footing alongside her mother as she sings “My Power." It’s girl power on the road to complete female empowerment. With a run time of 2 hours and 48 minutes, we don’t miss a thing as Beyoncé struts the runway like a beast, making the similar power strut by Taylor Swift in her film look like child’s play. Don’t get me wrong, they are both fierce and formidable, but Bey leans in to the role, throwing a sly look to the camera like the ballroom queens she honors. One of the most exciting aspects of the Renaissance album and film centers around the influence of her late Uncle Johnny. Originally published on her website: "He was my godmother and the first person to expose me to a lot of the music and culture that serve as inspiration for this album. Thank you to all of the pioneers who originate culture, to all of the fallen angels whose contributions have gone unrecognized for far too long. This is a celebration for you.” —republished at ew.com Once the mechanical fans begin, her sparkling bodysuit wrapped with black hands, the crowd goes wild, singing every word, celebrating the influence of not only her late gay uncle, but all the brave gay men who created the ballroom culture and creatively flourished in their originality and defiance against the odds and the dreadful disease that took so many of them from this world. There are many tributes sprinkled throughout the concert, with musical references to Black and queer culture, Chicago house, funk and soul, gospel, Madonna, Britney Spears, Donna Summer, and a special appearance by icon Diana Ross. Beyoncé leaves no stone unturned in her gratitude to the music that has influenced her life and to the crew, dancers, and musicians who bring her vision to fruition, to her family, her roots, and her undeniable drive for excellence. Thus far, the film has received critical acclaim and grossed over $42 million dollars worldwide, the tour grossed over $579 million worldwide, with 2.8 million fans attending across 56 dates in 39 cities, bringing her empire net worth to $540 million and growing. I look over at my kid for the umpteenth time during the film—watching her sing along to every song—my own little bee, admiring the fiercest of role models. Music, a matinee, popcorn, my happy kid . . . it's a good afternoon indeed. By the time Beyoncé flies over the crowd, fashionably astride a life-size mirrored stallion, the audience (always in the palm of her hand) can do nothing but admire the star. There is no doubt: Beyoncé runs the world, and we are more than happy that she does. Long live the Queen. Elizabeth Gracen is the owner of Flapper Press & Flapper Films.

By Flapper Press: Flapper Press is proud to announce our nominees for the 2023 Pushcart Prize in Poetry! It was a banner year for the Flapper Press Poetry Café, with a record number of poetry submissions and featured interviews and articles. Selecting our nominees was a daunting task, but it gave us the opportunity to review the powerful, beautiful poetry sent to us this past year. Thank you to all the poets who submitted their work. We look forward to your submissions, so please keep sending them to us! The Pushcart Prize Anthology is published by Pushcart Press and honors the best in American "poetry, short fiction, essays or literary whatnot" published in small presses over the previous year. The endowment for the award comes from The Pushcart Prize Fellowships Inc.—a 501(C)(3) non-profit corporation. Although the award has no monetary prizes, an anthology of the selected works are published annually to feature the winners. Small-press editors nominate up to six pieces (6 poems or essays, or a combination of the two) in any genre from work that appeared in their pages over the past year. A panel of judges compiled from previous Pushcart Prize winners and editors select the winners. This year, Flapper Press nominated three works in short fiction and essays, along with three poems. Congratulations to our nominees, and thank you to all the writers who shared their work with us this year at Flapper Press! Meet our Pushcart Prize nominees in poetry for 2023! Pat Daneman "Walking with a Ghost in the Deerfield Forest" Pat Daneman’s recent poetry appears in Poet’s Touchstone, Lakeshore Review, Gyroscope and Wild Roof. Her collection, After All, was first runner up for the 2019 Thorpe-Menn Award. She is author of a chapbook, Where the World Begins, and co-librettist of the oratorio We, the Unknown. She lives in Candia, NH. To read more about Pat Daneman and her work, visit patdaneman.com Read Pat Daneman's interview and more of her poetry here. Walking with a Ghost in the Deerfield Forest And if you wander, how will I know where you are? I will call to you twice…like an owl. And how will you know I have heard? You will cry into the air like a crow. I will hear you before I see you, walking downhill through the trees, your boots slipping, light traveling each cobweb strand of your hair. I will have lit a fire. You will find me and sit close to the flames. And will we eat? We will drink tea brewed from pine needles, eat berries stolen from bears, and cake dug from the hollows of trees sweet with sap. When will we sleep? You will go home to your bed once the sun sets. I will lie down in the leaves, the cap of a mushroom a cold nudge on my cheek, half a moon trying to find me. My body still, your body restless, wound in the rags of remembering, almost awake, even as midnight slips by. How will I know I’m alone? I will call to you twice—like an owl—and you will not answer. From Pat Daneman: This was published in the November 2022 issue of Wild Roof. It grew out of an experience I had shortly after I moved to rural New Hampshire. I was looking to meet people who would share my interests. I signed up for a “forest walk” sponsored by the Bear-Paw Conservancy—a land conservation organization. I had no idea what I was getting into, but a walk in the woods sounded nice. I drove down a long dirt road near where I live and met the group leader, a very nice man. We waited for other people to show up, but no one did. He said he was willing to go ahead with just me, and I said sure. He was a great guide—it was a forest bathing type walk—you follow the guide’s prompts to go slow and pay attention with all your senses. I’d never done anything like it before, at least without my camera. It took us about two hours, stopping and starting, looking and listening, to go about a mile up and down and around through the deep woods of the Deerfield Town Forest, which is one of the areas the conservancy maintains. The poem came a couple of days later, based on my experiences during the walk. Like many of my poems since my husband died, it is about grieving and loss. It is a conversation between a living being and an unseen being or feeling (what I call a ghost.) The living person has nothing but questions and the “ghost” has answers, which make her feel seen and even cherished but ultimately changes nothing. Cathryn Essinger "I Ask the Caterpillars about Meditation" Cathryn Essinger is the author of five books of poetry—most recently The Apricot and the Moon and Wings, or Does the Caterpillar Dream of Flight?, both from Dos Madres Press. She is primarily a narrative poet with an interest in nature. Her poems can be found in a wide variety of journals, from The New England Review to PANK.  She lives in Troy, Ohio, where she raises Monarch butterflies and tries to live up to her dog's expectations. Some of her poems can be found on the Poetry Foundation website, and others are online. Cathryn is always surprised when someone Googles her and asks about her poems, especially her dog poems. When people start sending her pictures of their dog “driving,” she knows that a particular poem (“The Man Next Door Is Teaching His Dog to Drive”) has been reprinted somewhere. Read Cathryn Essinger's interview and more of her poetry here. I Ask the Caterpillars about Meditation The caterpillars in the garden have eaten all of the dill and are moving on to the parsley. Every morning I go out to ask if they are ready for a hand into the future, and every morning they reply, Just a bit longer . . . But nights are getting cold, and I remind them that I've saved a place for them to pass the winter, suspended in chrysalis, protected from mice and unseasonal warmth. All I want in return is to ask them how they fold in, infinitely, upon themselves, and go into a meditation so deep that time is no longer a constant. But mostly, I want their advice on how to return in the spring as a changeling, where everything is familiar--the dizzying mix of sun and shadow, the breeze that stirs the linden--and yet nothing is ever quite the same From Cathryn Essinger: This poem was written in early fall during the pandemic when we were all staying pretty close to home. I raise butterflies, mostly Monarchs, hoping to preserve the migration from the Midwest to Mexico. Monarchs are the only butterflies that migrate, and we are in endanger of losing the migration because we have destroyed most of the milkweed with Round Up Ready crops. Milkweed is the only plant that Monarch caterpillars can feed on. Raising butterflies mostly involves creating a space with native plants, free from pesticides and lawn chemicals. In this poem, I am actually waiting for some Black Swallowtail caterpillars to form their chrysalis for the winter. They do not migrate and are not endangered. They spend the winter in some kind of suspended state before emerging in the spring. I am offering them a safe place to overwinter once they are ready to form a chrysalis. I have written a chapbook about raising Monarchs titled Wings, or Does the Caterpillar Dream of Flight? I donate the proceeds from this chapbook to Monarch preservation sites, such as Journey North, and to our local rehab center. I write a lot about animals and try not to personify them too obviously. A well-known poet once told me to "never personify animals" because it would make me read like a Disney movie. I think I have spent a good part of my writing career trying to prove him wrong! I actually have a poem that addresses that up at Poetry Foundation website titled "My Dog Practices Geometry." I have not included it here because it has been reprinted quite a bit. Louis Efron "Edge of a Wheat Field with Poppies and Power Lines" Inspired by Edge of a Wheat Field with Poppies  by Vincent Van Gogh (1887) Louis Efron is a writer and poet who has been featured in Forbes, Huffington Post, Chicago Tribune, The Deronda Review, Young Ravens Literary Review, The Ravens Perch, POETiCA REViEW, The Orchards Poetry Journal, Academy of the Heart and Mind, Literary Yard, New Reader Magazine, and over 100 other national and global publications. He is also the author of five books, including The Unempty Spaces Between (winner of the 2023 NYC Big Book Award for Poetry); How to Find a Job, Career and Life You Love; Purpose Meets Execution; Beyond the Ink; as well as the children’s book What Kind of Bee Can I Be? Read Louis Efron's interview and more of his poetry here. Edge of a Wheat Field with Poppies and Power Lines Inspired by Edge of a Wheat Field with Poppies  by Vincent Van Gogh (1887) a cloud-brushed Parisian horizon blue-cast shadows upon a glistening fragmented field of God’s once golden wheat scarlet poppies sway below pencil-thin branches and buzzing threads meant to power a village coiled over burdened broad limbs to keep ourselves fully lit like sacrificial crosses linked in punctured earth p o w e r l e s s to feed the dead From Louis Efron: I have always reveled in the beauty of nature and frequently think about how humans impact and interact with our environment and the planet. On my family's recent Denver Art Museum visit, I viewed Van Gogh’s “Edge of a Wheat Field with Poppies.” I began to imagine how this exquisite painting and scene would have been impacted by the power lines we see in front of most picturesque fields today. Also, what do these poles and cables represent and provide, both good and troubling? From this, "Edge of a Wheat Field with Poppies and Power Lines" was born. The Flapper Press Poetry Café Presenting a wide range of poetry with a mission to promote a love and understanding of poetry for all. We welcome submissions for compelling poetry and look forward to publishing and supporting your creative endeavors. Submissions may also be considered for the Pushcart Prize. Please review our Guidelines before submitting! Submission Guidelines

By Flapper Press: Flapper Press is proud to announce our nominations for the annual Pushcart Prize in writing! These selected prose pieces were published on our site in 2023 and reflect the high quality and truly unique voices of our many writers. As always, the selection process is difficult, and we are grateful to all the writers and artists who submitted their work this past year. The Pushcart Prize Anthology is published by Pushcart Press and honors the best in American "poetry, short fiction, essays or literary whatnot" published in small presses over the previous year. The endowment for the award comes from The Pushcart Prize Fellowships Inc.—a 501(C)(3) non-profit corporation. Although the award has no monetary prizes, an anthology of the selected works are published annually to feature the winners. Small-press editors nominate up to six pieces (6 poems or essays, or a combination of the two) in any genre from work that appeared in their pages over the past year. A panel of judges compiled from previous Pushcart Prize winners and editors select the winners. This year, Flapper Press nominated three works in short fiction and essays, along with three poems. Congratulations to our nominees, and thank you to all the writers who shared their work with us this year at Flapper Press! Meet our Pushcart Prize nominees in writing for 2023! Lorainne Captuo "Puerto Barrios" Lorraine Caputo brings her beautiful observations to Flapper Press with a lyrical trip to Puerto Barrios. Read the article here. Lorraine Caputo is a wandering troubadour whose poetry appears in over 400 journals on six continents, and 23 collections of poetry—including In the Jaguar Valley (dancing girl press, 2023) and Caribbean Interludes (Origami Poems Project, 2022). She also authors travel narratives, articles and guidebooks. Her writing has been honored by the Parliamentary Poet Laureate of Canada (2011) and thrice nominated for the Best of the Net. Caputo has done literary readings from Alaska to the Patagonia. She journeys through Latin America with her faithful knapsack Rocinante, listening to the voices of the pueblos and Earth. Find out more about Lorraine Caputo: Facebook: lorrainecaputo.wanderer Instagram: @lorrainecaputoc Latinamericawanderer.wordpress.com Gillian Kessler "On Bringing My Child to Malawi—Some Morning Musings" Gillian Kessler reflects on the joy and insight gained alongside her daughter during an educational workshop in Malawi. Read the article here. Gillian Kessler can be found dancing to loud music, teaching exuberant teens to appreciate language, writing in the early morning when everyone is asleep, and exploring the wilds of Montana with her beautiful family. Gillian studied poetry at Santa Clara University with Edward Kleinschmidt, UCLA Extension with Suzanne Lummis and, more recently, in Missoula under the exceptional guidance of Chris Dombrowski, Mark Gibbons, and Phillip Schaffer. Her poems and essays have been published in Mamalode Magazine, and she writes frequently for Flapper Press. Her poetry was featured in the anthology Poems Across the Big Sky Volume II. Her first collection of poems, Lemons and Cement, came out in 2017. Gillian was also recently selected as one of the poets for the Montana Poetry Series. Her latest work, Ash in the Tree, was published by FootHills Press in July 2021 Derek May "A Case for Physical Media" Derek May argues against the disappearance of our music, movies, and books in physical form. Read the article here. Derek May, of San Antonio, TX, is Editor-in-Chief and occasional writer for Flapper Press. He has written nearly 50 movie reviews for movieweb.com and completed 13 original feature film and television screenplays, many of which have been winners or finalists in such prestigious competitions as the Walt Disney and Nicholl Fellowships, the Austin Film Festival, and the Creative World Awards. He served as a judge for 10 years for the Austin Film Festival and Texas Film Institute screenplay competitions. His latest project has been the highly acclaimed stop-motion animation fan series Highlander: Veritas, which released its second season in July 2022. We are proud to announce our 2023 Pushcart Prize in Poetry in tomorrow's article. Flapper Press is an online magazine featuring a curated collection of eclectic and often under-represented viewpoints from an international team of writers. Our goal is to provide readers with a wide variety of topics, opinions, and authentic expression in order to educate and foster personal growth and empathy while promoting positive change in the world. Please consider submitting your work! Submission Guidelines

By Elizabeth Gracen: Three unique concert films from musical artists—each distinctive and unique, representative of the deep and wide well of excellence on the musical spectrum. So much music. So much popcorn. What could be better? In the second of this trilogy series of concert film reviews that close out my articles for Flapper Press this year, I scurry backward along the music-history continuum from the current pop glory of Taylor Swift’s Eras Tour to a 1984 film widely celebrated as one of the best concert films in history, directed by the late great Jonathan Demme: Stop Making Sense. It’s hard to believe that this groundbreaking film, seeking to share the visceral experience of a 1983 Talking Heads concert with audiences worldwide, will celebrate its 40th anniversary this coming year. Where has the time gone? “I can’t seem to face up to the facts.”  — "Psycho Killer," Talking Heads The film's official (re)launch at the Toronto Film Festival in September 2023 brought the entire Talking Heads' ensemble back together in attendance, seemingly reconciled from their highly fraught split in 1991. The A24 production of this newly remastered 4K restoration for IMAX screens (with a Dolby Atmos version available for regular release across the U.S.) brings the glory of Talking Heads to a new generation of music lovers who will, hopefully, recognize the origins and powerful influence of the band and its enigmatic front man, David Byrne. According to Variety, the film "has generated $5 million at the box office since returning to theaters in the fall" and "More than 60% of audience members were not alive when the film was originally released, so the majority of moviegoers are watching 'Stop Making Sense' in theaters for the first time.” How cool is that? “I love the passing of time.” —"This Must Be the Place (Naive Melody)," Talking Heads Once again, with a tap of the AMC app, I’m headed down the street to one of my town's plethora of cinemas, popcorn pre-ordered to suit my fancy. And again, I’m the only person sitting in the front section of the theatre (my “private screening” trick of the mind fully coming to life) in my padded “rocker,” superb seating for the heavy-duty chair dancing that will ensue for the next couple of hours. Once again, I am content, ready for a bit of musical time travel and the jubilant artistry of Stop Making Sense. David Byrne arrives solo on a virtually empty sound stage to start the film, symbolic of the singular artist who will soon achieve genius once bandmates Steve Scales, Bernie Worrell, Jerry Harrison, Ednah Holt, Lynn Mabry, Tina Weymouth, Chris Frantz, and Alex Weir gradually join him on stage. All the while, we see stagehands wheel in risers, backstage equipment, and instruments—the guts of the minimal production; a novel, artsy approach to a concert film in the early 80s. When the film finally expands to an even wider perspective for the final number of Al Green’s “Take Me to the River,” Demme finally reveals the rapt concert audience onscreen up on their feet and dancing. Everyone is moving, jumping, singing along, the connection between performer and viewer captured by the camera and locked in a live-music embrace of the moment, with the band in constant motion, Byrne running laps around the stage . . . my chair wildly rocking along. Stop Making Sense is sparse in comparison to the multi-sense bombardment used by modern stadium performers on tour. Utilizing old-school technology such as rear-screen slide-show visuals, unfiltered lights, and no professional choreography (Byrne employed creative pow-wows with his backup singers for their simple dance moves, his own iconic twitchy movement influenced by Asian theatre and the avant guarde stage productions of Robert Wilson), the concert’s slow burn into a full-scale rollick still remains an intimate event. Filmed over one rehearsal and three nights at the Pantages Theatre in Los Angeles during the Heads’ 1983 tour, Demme used six film cameras for each show in an attempt to capture the band’s unique energy and muscular performance. Even though the film has been released in a variety of iterations over the years for home video, critics have often noted the diminishment of the film’s original look and sound. For this latest, pristine restoration, the original film negatives, once thought lost, were discovered in the MGM film vaults and forensically cleaned and 4K scanned, giving the film that original filmic look. Demme, in a move that was both novel at the time and essential to the current restoration's superior quality, opted to digitally record the sound. This decision granted the A24 team access to the undiminished soundtrack and allowed them to remix the audio and enhance the overall concert-film experience of the original recordings. With a set list of funk, African, and polyrhythmic beats, the music builds into a frenzy through "Psycho Killer," "Heaven," "Thank You for Sending Me an Angel," "Found a Job," and "Slippery People" to the MTV rotation favorites "Burning Down the House" and "Once in a Lifetime." With "Life During Wartime," "This Must Be the Place (Naive Melody)," the Tom Tom Club's "Genius of Love," and more, the film reaches a climax once Byrne hits stage in his familiar over-sized suit for "Girlfriend Is Better," "Take Me to the River," and, finally, "Crosseyed and Painless." By the time the film’s credits rolled, I had rocked myself into oblivion, my hands raised, swaying back and forth, a grin on my face. There was no way to leave but satisfied, the hard work and blistering energy of the musicians and their fearless leader leaving nothing left unaddressed in their musical oeuvre. These were musical artists at the top of their youthful form, making unique music and burning down the house in the process. Because I always sat center front for the film, I have no idea what those behind were doing. I actually heard someone laugh and whisper, “That’s the person in front,” as I happily walked out. Surely I wasn’t the only one rocking and chair dancing, but who knows? It doesn't matter to me. People gonna talk. "Same as it ever was." —"Once in a Lifetime," Talking Heads Elizabeth Gracen is the owner of Flapper Press & Flapper Films.

By Flapper Press Poetry Café: The Flapper Press Poetry Café continues a new series of articles about favorite lines of poetry and the poets who wrote them. We’re reaching out to poets, writers, and lovers of poetry to submit their favorite lines of poetry and tell us why you love them. Check out our submission guidelines and send us your favorites! We'll feature your submission sometime this year on our site! This week, our submission comes from poet Riemke Ensing. From Riemke Ensing: Recently  I have been coming back to poems I was introduced to mostly at Teachers’ Training College, Ardmore, when I was about 17 (I’m now 84). One lecturer (Geoff Ryan) was immersed in the Russians, and my first lecture in English Literature there was taken by John Melser, who later moved to New York. He was dressed in the usual corduroys with suede shoes. He stood (sort of lounged) against the doorway of the lecture room and flipped open a book that he took from the back pocket of his trousers. He read and read and read for the duration of the lecture. The whole class was spellbound. I don’t think many of us made any sense of what he read, but it was gorgeous. Such an amazing voice. At the end, he closed the book and with a slightly disdainful toss of the head said to us, "T. S. ELIOT. GO READ.” And we did. A group of us (some of us still in touch) got Eliot from the library, sat on the grass outside, and read the Four Quartets for the rest of the day and into the night and the next days. We were immersed and overwhelmed. "The Dry Salvages" particularly stood out for me, and my copy of the book (still from that time) is heavily annotated. A part I particularly like is from "Little Gidding" towards the end. “We shall not cease from exploration And the end of all our exploring Will be to arrive where we started And know the place for the first time.” About T. S. Eliot: A renowned poet and winner of the Nobel Prize in Literature, T. S. Eliot’s achievements as poet and literary critic abound. His most notable works, The Waste Land, Four Quartets, Old Possum’s Book of Practical Cats (most famously adapted into the long-running Broadway musical Cats) along with a lifetime’s worth of literary criticism and poetic achievements, are considered milestones in American literature, despite the controversy surrounding the poet’s anti-Semitic views. To read more about T. S. Eliot: The Poetry Foundation: T. S. Eliot Poets.org: T. S. Eliot Poetry by T.S. Eliot: My Poetic Side: T. S. Eliot Poems Riemke Ensing is a poet who has distinctively synthesised European and New Zealand influences. Born in Groningen, Netherlands, in 1939, with her parents she immigrated to New Zealand at the age of twelve in 1951. At this stage of her life, she spoke no English. She went to school first in Dargaville, then to Ardmore Teachers’ Training College, after which she taught for two years, returning to the College to lecture in English literature for a year. She again became a fulltime student, and on graduating M.A. (Hons) in 1967 was appointed as a tutor in the English Department at the University of Auckland, where she taught till 1999. She has since been appointed an Honorary Research Fellow (Faculty of Arts), and in 2002 was a Buddle Findlay Sargeson Fellow. Her poetry is represented extensively in anthologies, and her work has appeared in many publications, both in New Zealand and overseas. The Flapper Press Poetry Café Presenting a wide range of poetry with a mission to promote a love and understanding of poetry for all. We welcome submissions for compelling poetry and look forward to publishing and supporting your creative endeavors. Submissions may also be considered for the Pushcart Prize. Please review our Guidelines before submitting! Submission Guidelines

By Anne Trominski: I love a circus. The dazzling colors, bright lights, outrageous costumes, amazing feats of acrobatics, and over-the-top showmanship of the experience checks all my entertainment boxes. I have loved going to circuses ever since I was a kid begging my mom to take me to Ringling Bros. and Barnum & Baily when they came to town. That giddy excitement has never left me, for it’s an experience that is truly for “children of all ages.” That being said, as I grew up, the idea of a circus became more complex. I have yet to experience any circus story (whether in movies or novels) that was a happy one. The closest I can think of is Water for Elephants, and that plot still involves spousal abuse, animal abuse, and a murder. Hollywood loves to juxtapose the shiny joy of three-ring entertainment against whatever grim reality they are going for at that moment. Unfortunately, there is some legitimate grim reality to be had in circus history, not the least of which is the mistreatment of animals. Just about the time my educated older thoughtfulness was ready to put the kibosh on my childhood love, Cirque du Soleil entered the picture to make circuses a delight again. Formed by a group of street performers out of Quebec in the 1980s, Cirque du Soleil seems to have successfully dropped everything that made circuses shady, including the animal acts. In addition, they not only kept the good stuff, they recreated it on a whole new level. Cirque du Soleil costumes still feature lots of color and sequins like the circuses of yore, but they’re also structural and reminiscent of avant garde fashion. The clowns and acrobats still fascinate the audience with their physical antics, but now they also dance and act out subtle plot lines throughout the show. And forget calliope music, each Cirque du Soleil show has its own orchestrated soundtrack performed live by gifted musicians and singers. Cirque du Soleil is the circus elevated to an art form. I first experienced Cirque du Soleil as most people do, in Las Vegas. The Cirque aesthetic is right at home in the too-muchness that is Las Vegas. I saw Mystere, the first show to come to Vegas, which is still playing at Treasure Island. I was hooked the moment the worldbeat music began and performers covered in feathers seemed to walk down the walls. There are so many Cirque du Soleil shows in Vegas that fans often describe them by one distinguishing feature: Cirque with water (O); Cirque with the stage that moves (KÀ); Cirque with nudity (the now-closed burlesque Zumanity). The latest Cirque shows in Las Vegas combine the circus arts with pop music, including LOVE (which features Beatles music) and MJ One, a tribute to Michael Jackson (previously reviewed by Flapper Press). In addition to its many Las Vegas versions, Cirque du Soleil still carries on the tradition of a travelling circus with multiple shows that tour the world. Like the Vegas versions, each travelling show has its own unique theme and story to distinguish it from the others, from the soft and romantic Corteo to Crystal—Cirque du Soleil meets ice capades. (No really.) My husband and I recently saw Bazzar while it was here in San Antonio, Texas. Like most of the travelling Cirque shows, it was held in outdoor tents featuring the distinctive swirling striped pattern. They were set up not in a field but in the parking lot of our local minor league baseball team’s stadium (go Missions). The whole thing was huge, featuring one center tent with a one-ring stage and theater-in-the-round stadium seating, which was rather cozy but still comfortable. Outside that center tent was a ring featuring an extensive string of gift-shop kiosks and concessions. Staying true to their Vegas sensibility, the concessions featured a full bar with signature cocktail. We purchased a dry cabernet and a souvenir magnet for my collection and headed into the show. A combination of heavy curtains at the entrances and dark-blue interior blocked out the sunlight that was shining during our matinee show and made it feel like we had slipped into another world. And in a way we had. The small stage made it a very intimate show, and the performers often interacted with the audience. As it started, the emcee coached us to say, “Wow” every time he said, “Cirque du Soleil,” and that was the nature of this little world inside the tent. We had come to be amazed, and the performers had come to do everything they could to make us say, “Wow.” And we did. Repeatedly. I’d love to have the descriptive powers to describe the different acts in detail for you, but when things seem to defy the laws of physics, it’s hard to get them down on paper (the couple were both on roller skates on a small circular stage, and they were attached by a strap around their necks, and he was swinging her around while going in circles, and then she started to spin . . . ). Just imagine something that you think is utterly impossible for the human body to do—then set it to music and add dancing. Cirque du Soleil has stuck close to its roots and still regularly recruits street performers to join their troupe. For instance, one performer we saw had clearly spent hours just figuring out what cool tricks he could do on his bike. But now he does them on a chrome bike while wearing a turquoise bowler hat as a saxophonist plays behind him. Other performers were more traditional circus acts, such as a man and woman on a trapeze; except, in the Cirque version, they performed as a couple having a lover’s spat jostling for position on the same swing. Being so close to the acts made them more exciting, as you could clearly see just how perilous some of the acrobatics were. You could often hear the audience gasp and make exclamations, and more than once I saw someone grab the person next to them in excitement. Even spotting the mistakes of a live performance somehow made it more impressive. When the fire juggler dropped one of his spinning flaming batons, it occurred to me just how hard that must be to do and how many times he must have burned himself in learning the skill. Add to that the fact that this was just the afternoon show, and that the performers would be doing this all again that evening for a new audience—its kind of mind-boggling that they’re real human beings. There was a short intermission in the middle but otherwise the acts flowed from one to another as a small band kept the jazzy music flowing and a remarkably talented singer switched between French and English lyrics. As more complicated staging was being set up, the emcee would interact with the audience and drop local cultural references, which for this crowd included barbacoa and Big Red, Buc-ee’s, and (the particularly deep cut) Texas Thrift. At one point, as he was cuing sections of the crowd to sing “ohhh” and raise their hands, he spun, pointed, and said, “Just that guy.” The spotlight lit up Spurs basketball legend David Robinson sitting in the crowd, who gamely lifted his arms and sang “ohhh” to everyone’s delight. The local call-outs were just part of the many details that made this show fun—just truly and simply fun. That’s the thing, there are some very grim realities taking place out in the world right now (with or without Hollywood juxtaposition). It’s really nice to be able, from time to time, to disappear into the dark of a theater or a tent and feel like you are somewhere else entirely. It’s lovely to be in a world where everything is interesting to look at, the music is good, and the people are creative and spend their time honing a talent for no other reason than to make you say, “Wow.” Even if it’s just for one sunny afternoon in December, it’s fun to go to the circus. Anne Trominski was born and raised in El Paso, Texas, but now resides in San Antonio. She graduated from Trinity University after majoring in English and Communication. She spends her dull working hours as an editor for a major publishing company, and her personal time as an oft-frustrated writer. She has written two yet-to-be published novels, countless reams of heartfelt poetry, and has tried her hand at blogging a few times. Anne is also a gastronomist and amateur chef who likes to obsessively read articles on health and wellness. She is a constant learner and explorer, and likes to drop knowledge on others like it’s hot. Most recently, she produces the podcast Civics on the Rocks.

By Elizabeth Gracen: How lucky am I to have had front-row seats to some of the biggest concerts that hit the stage in 2023? I didn’t have to fight traffic or parking to get there, nor elbow my way to the front of the pressing crowd to find my place. All I had to do was tap the AMC app on my phone as visions of popcorn danced in my head. Thank you Jonathan Demme, David Byrne, Talking Heads, Taylor Swift, and the Queen Bee herself, Beyoncé, for making it possible for a crowd-shy music junkie to immerse herself in three uniquely different concert films—all true expressions of each artist’s stage-performance mastery, musical excellence, and sheer charisma. Over the next couple of weeks, I’ll be reviewing these films to close out my 2023 articles for Flapper Press in hopes that you’ll venture out to view the creative process and wall-to-wall entertainment that these artists bring to life on a big-screen scale for yourself. It’s perfect holiday viewing. There are few things better than my local Dolby cinema, row C, middle-seat recliner. Add a giant tub of popcorn, a large water, and maybe some Red Vines if I’m feeling a bit naughty, and I am one happy filmgoing camper. Sometimes the pickins’ are slim in terms of what I would spend my money and time on at the actual cinema as opposed to the plethora of available streaming options. Such was the weekend in mid-October when I decided to go "big-screen" for “The Eras Tour,” the blockbuster concert film brought to us by the powerhouse creative and economic force to be reckoned with and recently named 2023 Time's Person of the Year— Ms. Taylor Swift. Now, I’m not saying that I don’t like Taylor Swift, but I've never been a Swiftie. I truly appreciate her songwriting prowess and undeniable fierceness, but my kid wasn’t a Swiftie, so Swift’s music was not on a perpetual loop in the car during my Uber-momma driving days—that spot was occupied by the cast of the Hamilton album. So, when the only real matinee available for my film/popcorn fix was “The Eras Tour,” I had to take a beat and decide whether a three-hour concert movie was going to check all the necessary escape boxes. Hadn't I seen and heard enough about the friendship bracelets, the romance with Travis Kelce, and all those secret codes in her lyrics? Oh, what the hell? There's popcorn involved, so I'm game. Let’s see what the hoopla is all about. So, what exactly is a "Swiftie"? According to Wikipedia: "Swifties are the fandom of American singer-songwriter Taylor Swift. Regarded by journalists as one of the largest and most devoted fanbases, Swifties are known for their high levels of participation, creativity, community and fanaticism. They are a subject of widespread coverage in the mainstream media." In my mind, the most Taylor Swift thing I could do was dawn a pair of cowboy boots and a skirt. I felt like a costumed version of myself (I do like a costume) until I arrived at the cinema. The Sunday afternoon matinee was abuzz with girls and young women, some decked out in T. Swift tour t-shirts and some in full costume from their favorite Swift “era.” After picking up my pre-ordered popcorn and sweets, I made my way around the lobby to soak in the giddy energy of youth. There were a few male-bodied Swifties in the room, but it was predominantly chock-a-block with all things "grrl" . . . and it was glorious. Leaning against a lobby pillar, I scanned the room. My hand moving from warm, salty popcorn to mouth, I watched the pre-show festivities. So many selfies; so many posed shots; so many smiles. So much happy noise. “Hey, you all look great,” I said, inserting myself into a photo-op scenario. “Would you mind if I took a couple pictures of you for an article I’m writing about the film?” “Sure! Would you take a picture for me, too?” said a perfect Swiftie in white go-go boots and glitter around her eyes. “You bet.” The group of friends took their places in front of the giant IMAX “Eras” poster. “Wait, wait,” she said as they lined up. “We have to get in the right era order.” After a few shuffles, they were ready. “Would you like me to add your names to the article for the picture?” [This turned out to be a spellcheck disaster, with my iPhone mixing up letters and changing names. My apologies to these lovely Swifities for not adding their names to this article, but it was virtually impossible once I checked my notes. Please reach out to me via info@flapperpress.com if you want me to add your name.] I have a penchant for sitting pretty close to the screen, especially in those recliners. Since I opted for the Dolby theatre instead of IMAX, I was the only one in the front row section for this particular matinee—all the Swifities packed in the back of the theatre, no doubt to sing along and sway. It’s been reported that movie-theatre owners across the country have opted to create a concert atmosphere for those attending, allowing texting, posting selfies, and dancing. Although I couldn’t see over the section partition to verify this, I’m hoping that that was what was going down amidst all the grrl power behind me. Swift’s three-hour concert (edited down to 2 hours and 48 minutes for film) was filmed over three nights during a six-night residence at SoFi Stadium in Inglewood, California, from August 3–5, 2023. At the point of writing this article, there have been 151 performances across 5 continents, with the European leg beginning in November and a planned return to the States next year. The film has surpassed $250 million at the box-office, placing it in the top 20 films for 2023 and the best-performing concert of all time. The tour itself has garnered unparalleled ticket sales, broken worldwide attendance records, and has elevated the economies and tourism of any city that the Swift musical tornado has touched down in, elevating Swift’s net worth to over $1 billion dollars. "Ooh, look what you made me do." —"Look What You Made Me Do," lyrics and music by Taylor Swift Once the movie previews dovetailed into Nicole Kidman’s familiar sparkly jumpsuit and high-heeled step into the puddle of water for the AMC opener, it was time for the show, Swifities cheering behind me with delight. I don’t know what it felt like for my ladies in the back of the theatre, but from where I was sitting, it felt like I was center stage, the enormous digital screens lighting up the first “era.” Swift appears, her dancers move forward in a chevron behind her, her knee-high boots formidable as she power struts down the ramp with “Miss Americana & the Heartbreak Prince.” “Here we go,” I whispered. With costumes ranging from demure and fairy-like to body-suit spangle, Swift commanded the stage with the assurance of someone who knows that she is loved. That is the only way I can describe it. She flawlessly performed her hits from a deep library of music covering her albums Lover, Fearless, Evermore, Reputation, Speak Now, Red, Folklore, 1989, and Midnights. I sang along and seat-danced with all the hooks and bridges I recognized from “Look What You Made Me Do,” You Need to Calm Down,” “We Are Never Ever Getting Back Together,” “Bad Blood,” “I Knew Your Were Trouble,” and I think I even belted “Shake It Off” (ahh . . . the glories of that private screening feeling). Confident, beautiful, warm, and familiar, Swift has been criticized for the "surprise face" that often washes across her beautiful visage, but I’m not sure how you’d ever get used to that many adoring people hanging on your every note and applauding your every move. C’mon, give the gal a break. Wouldn't you be in constant amazement? Suddenly, there was a rumble in the aisles as what would be Swift's last on-camera song cranked into high gear. The Swifities were on the move, filling the front section of the theatre between the screen and front-row of seats. Beckoned as if by a siren's song, the Swifties, who were more than familiar with the concert's set list, were ready to dance. I can’t imagine what the actual concert-going experience must have been like with the throng of people and the massive light show. All I’d managed was seat-dancing and popcorn gorging, but I was exhausted by the time the film was over. I didn’t stay for the credits and the final Swift song, but I left a raucous crowd, who I imagine would ride high on the Swift fairy dust for the rest of the day. Let's just say that it was a lot of Taylor Swift for someone who is not a Swiftie, but it doesn’t really matter. Ms. Swift was masterful. The film was impeccable. The joy was palpable. A perfect Sunday matinee. The next day was Monday, my least favorite day of the week. As I stepped onto the elliptical machine for my regular workout at the local YMCA, I searched my Spotify in search of inspiration for the next 20-minute sweat. "Omg, there she is again," I said, shaking my head, residual fairy dust floating down. I made my selection. "Let's do this. . . ." Elizabeth Gracen is the owner of Flapper Press & Flapper Films.