Now he's teamed up with bestselling author James Earl Hardy in a film adaptation of Hardy's groundbreaking novel B-Boy Blues. And that, as they say, is just the tip of the iceberg.

"When I was a kid we didn't have a lot of money and then during my teen years I was a really awkward child," he said. "I felt there were all kinds of roadblocks in front of me but my family was always incredibly supportive. I couldn't do what I do now with the access I have and not help other brothers and sisters. That's part of my mission: to create opportunities. I feel it's important to make a way for new talent and LGBT individuals and train them because the opportunities for us just aren't there."

Like most creative people, Jamal was a dreamer when he was a child and as the product of a network of hardworking, loving grandparents and his favorite fan, his mother, he knew early on that they had high standards and he would have to live up to them. 

Still, he was reluctant to take a chance and go after his life's passion until a tragedy turned his world upside down.

Recently named by OUT Magazine as one of 2008's most influential gay Americans, Jamal has become known as a filmmaker who routinely pushes boundaries in regards to gender, sexuality and race - similar to Spike Lee who made his mark a generation before. But Jamal bears the distinction of being the first openly gay Black actor/writer to be profiled and referred to as gay in the mainstream urban media 

And while I am comfortable being a gay Black man, I find that a lot of our people still suffer from internalized homophobia. I have a lot of Black friends who are not out and therefore do not want the spotlight on them. 

I have so many young people hit me up on Facebook and MySpace and because of me they believe that they too can do some of the things they have dreamed about. I have walked through some doors and others now feel they can do the same thing."

That's tough for me because being Black and gay is who I am and what I do is an issue of self-love. That carries over into my work. It's not enough to say I have a movie that has a few Black gay folks in it or that I have produced a film about the life of a Black gay man. I should be telling stories that reflect our lives but I don't want people to support me, or oppose me because of my color or sexual orientation. I want them to support my work because it's good."

"From the very beginning, that movie got more No's than any other film in history, in and out of the community," he said. "I was told that it wouldn't win any festival awards, it wouldn't make it on domestic US television, that I would never get Loretta Devine to star in it. But it happened and it did work, even with a gay theme - it was the kind of story that had never been told. I've gotten used to people thinking I'm a little crazy and I kept telling reluctant distributors that Black mothers and grandmothers would love it. I knew it would play well in the South.

"Deals in Hollywood always take awhile - things are never done until they're done," he remarked. We have both been busy with our own projects too. James is working on an erotic anthology [The Freak Filez, no word was available on a release date] and I've been working on filming a new season of Friends and Lovers. 

They [distributors] use the recession as an excuse and I say excuse because DVD sales are up; so are movie ticket sales and TV ratings. James and I are looking at other options right now and I suppose it's a great problem to have. I believe it has been put in the divine time line and so I'm okay with reshaping it because I know it will happen when the time is right."

Of course, the reality behind putting together such a huge undertaking as B-Boy Blues is the cost. Jamal knows firsthand how challenging that can be and hopes investors will come to 

"Initially, James and I thought it would be amazing to have our community finance our story," he said. "But it's been slow and we have to deal with mainstream production companies and distributors - that's a whole other ballgame. And while the black gay community has been excited about wanting to see the project, they've been slow to raise funds, give or really assist with that process. I still have hopes because that's what we really need - to be able to take ownership and control of our images, our stories and our legacy."

Jamal took some time for himself this summer - taking a break from the Pride circuit and watching his favorite kinds of films - screwball 60s comedies, classic black and white dramas from the 40s and 50s and the bright Technicolor musicals and epics. He says he realized that he needed some down time.

"I hope to have a boy friend one day - sure," he said. "And I have been in love before. Right now I guess I am in serious "like." You have to first love yourself before you can be in a positive relationship with someone else.

"This was the first time in ten years that I didn't attend any of the pride celebrations," he said. "I've been going to them since I was around 20 - first as an onlooker and then as a producer/director to show my support. I realized I was tired and needed to take a rest. I ran myself ragged last year and just wasn't feeling well. I am learning that I need more balance in my life. That means focusing on my personal life sometimes and not just the career.

"For me right now it's all about service - serving God, the universe and my community. Making a difference and having an impact. I've grown weary of red carpet moments that are solely self-serving and give nothing back to the audience that's supporting the project. This year I've dedicated myself to political action, youth mentorship and health advocacy in the gay community. 

We have all been hurt but if you want to be with someone you have to be willing to do the self work first. It's not just about what they did and where they were lacking - I have to look at me. Then for me there's the added challenge of living in Los Angeles - dating here as a director is tough. 

I have one rule - don't date in the industry. But it seems that everyone out here is an actor. My job keeps me on the road a lot and there are many brothers that throw themselves at me. So I would need a man that is secure."

Maybe that's why I tend to want to be involved with people, building relationships and making connections. I could be aloof as a director and as a man but you know what? I get to make movies and tell stories. That's what I dreamed about ever since I was a little boy. And now, my dream has come true."

It was a rare moment of relaxation for this legendary actor, dancer, singer and choreographer and openly gay superstar who's in town and starring at the Alliance Theatre in David Mamet's two-man show, A Life in the Theatre.

Born in Baltimore, Maryland and educated in the city's public schools, De Shields burst on the scene in 1975 when he originated the role of the Wiz in the Broadway production of The Wiz.

He has since gone on to make his mark in other Broadway and regional theatre productions including Ain't Misbehavin',

And just for the record - Mr. De Shields is still fabulous - even at the "tender" age of 63 and says he "ain't done yet."

"I had the great fortune of knowing from the moment that I was evicted from my mother's womb, that I wanted to be in the theater world," he said.

"My destiny was etched in my chromosomes and there was no other desire or dream for me.My wish was always to be a performing artist."

When asked if there was a particular time or place when he was sure about

"I was watching the film Cabin in the Sky [the all-black musical released by MGM in 1943] and was marveling over the world-class actors that starred in it - Lena Horne, Ethel Waters and Louis Armstrong were the big names I guess.

But John Bubbles is the actor that really inspired me [Bubbles was the stage name of John William Sublett, known as the father of "rhythm tap" who Gershwin invited to create the role of Sportin' Life in Porgy and Bess].

He did this jitterbug number with Ethel Waters and it was magical.  When I saw Bubbles do his thing that small voice that we often ignore said that is what I was going to do one day."

And for over 40 years, De Shields has continued to listen to that "still small voice" inside - a voice that has guided him as he has perfected his craft, taken chances and suffered occasional blows of criticism to reach a level of excellence in both theater and television as an actor, choreographer and singer about which many actors can only dream..

"That voice inside confirms the work that I am doing right now at the Alliance Theatre, constantly pushing me to be the best and the most brilliant actor and director I can be," he said.

"I am so grateful to be on my chosen path and that I was not distracted from hearing it as so many are in their lives.

"De Shields stars with Ariel Shafir in Mamet's work in an emotionally-charged play that his critics say is guaranteed to keep audiences breathless as it examines the relationship between two actors - both on and off the stage. De Shields agrees, adding that preparing for his role has pushed him into unexplored territory.

"I have been in Atlanta since the end of October, enjoying this beautiful city as much as I can, given the fact that for most of my hours I have been locked in the theater," he said.

"My family has checked in on me and made sure I had enough to eat. 

They still say I'm just a skinny boy. In terms of the play, I believe theater begins when we are moved outside of our comfort zone.

Working on this play has really kicked my butt - it's been challenging. But that means I have been forced to stretch and so I am growing and I enjoy that.

You must grow in this business to be successful."

When asked about the challenge of performing in a two-man show, De Shields candidly remarked that it is definitely more difficult when the spotlight is only on you and one other character.

That means you have to hit the note exactly - there's no room for paraphrasing. You have to hit the bull's eye; otherwise you are not creating the music that he wrote.

When there are only two actors on stage the relationship is like the sun and the moon with one shining because he is reflecting the other's light.

I think this metaphor could be extended to life as well because when we face problems and then find the answer that solves them, the yoke is lifted."

And while he acknowledges the significance of landing the role of the Wiz and its New York City opening in 1975 when "the color line was finally blurred on Broadway," he says that he sees other dreams coming true because of his newly-forged relationship with the Alliance Theatre.

"It catapulted me to national recognition and established me as a bona fide player in the game.

But you have to remember that I am older now and making the transition in this industry can be difficult because you often get pigeonholed.

I have always thought of myself as a performing artist and a playwright and the Alliance is giving me the opportunity to do both without the usual hurdles and potholes."

My roof is my favorite place in Los Angeles [where he currently resides] and I love to read and lay in the sun naked. But Hawaii remains my favorite place in the world."

Patrick, born in Bath, England, is truly multi-racial with a bloodline that includes Cherokee, Jamaican, Cuban, English, Irish and French. A former member of the popular boy band "Worlds Apart," he was discovered by the irascible Simon Cowell of American Idol.

As he puts it, "I fell in love with acting and had dreams of following in the footsteps of my idol - Bruce Lee." An impossible dream? Perhaps just the opposite, considering the fact that Patrick is a 2nd Degree Black Belt and former Heavy Weight British Tae Kwon Do champion.

"People often want to know about my love life and I tell them that I am so in love with truth that God is first," he said. "God and truth mean the same thing so I have become in love with God.

Global warning has been at a constant increase for the last 20 years - what does that tell you? The light/heat/sun/God is coming strong."

This hardworking actor has found success in television and the silver screen, appearing in numerous commercials and feature films like Adrian and Dirty Laundry while guest starring on TV shows that include CSI Miami, My Wife and Kids and Beyond the Break.

But it was upon his capturing roles on two highly-successful daytime soap operas, All My Children and Days of Our Lives, that American's love affair with Patrick began, making him both a household name and face.

I didn't want to stay on a show that wasn't paying well and was stressing me out with the travel only to do a few lines or a scene behind a bar as the token black character. I followed my spirit and being inspired means being "In Spirit." I simply was not inspired. In terms of One Life to Live, I'm not really sure what happened there. The soaps are known for letting actors go quite easily - there's no real loyalty in show business and it's not very ethical either.

"I am sure that my posing for Playgirl or dancing had something to do with it. Someone must have had a moral issue with it, but I loved the release because for me it was a sign for me to begin the next chapter of my life. This journey we are on called life needs to have plenty of change and color. So while my fans and friends may have been concerned, I was actually happy."

Patrick may have been pleased, but clearly his producers were not. He says that his contract with Playgirl called for no full frontal nudity - a stipulation that was obviously violated if you have seen the layout.

"My fans loved it [the photo spread] - Days obviously didn't," he said. "Even though we are born naked on the planet in our birthday suits, people cover up in shame due to mind games and to block thoughts and projections.

I didn't actually chose to go full front nude based on the contract but when the pictures came out I knew I had been violated in terms of breech. But Playgirl then went out of publication so there was no point in crying over it. As I said earlier, the fans loved it so I figured if Pamela Anderson can have a career with all her goods all over the walls of garages, so can I."

Patrick appears to be a man who has no "shame in his game" and is always looking for greater challenges to conquer. He was recently tagged to star as a black super hero in a feature film by the world-renowned science fiction writer and animator Stan Lee but the project has since been put on hold.

"This is Hollywood and investors fall through or delay," he said. "The economy is making things tough for all of us but in the mean time, I am traveling the world so I can live and learn.

As he prepares for the release of his third film, a jarring drama dealing with the impact of HIV/AIDS on the Black community, Epidemic Chronicles, he continues his journey of self-expression through his writing which he believes is his greatest gift.

"People often think of models as being cute folks who have nothing to say; I'm here to break that stereotype and show that my creative skills are what really make me who I am," he said. "I guess you could say that I am going in a different direction these days - moving into a new arena - and so while I still model, I don't really seek those kinds of opportunities, they just come my way."

Forrest, an Atlanta resident who has lived in England and Hollywood says that as the youngest of five children, he learned early on that he would need to take creative approaches if he wanted to be noticed. It was this heightened awareness in creativity that led him into acting.

"I have been successful as a runway and fitness model and also have done a lot of photographs related to athletics, and you can find my pictures in a lot of different venues," he said. "Working as a model always seemed easy to me because ever since my high school days, I have really focused on being fit and staying in shape.

Even before it became popular, I was an advocate of the mind-body thing - maintaining the right balance so that I was a complete person.

I actually think of myself as a fitness guru and maintain a strict exercise schedule and healthy diet. And while I have enjoyed life as a model, acting and directing are really what drive me these days."

There are too many people who work out because it is a fad instead of doing it because of the benefits one gains from a healthier way of life. It also requires patience because the gains don't always come right away or in the way we might like, so you have to persevere. "

Perseverance has been essential for Forrest, who has turned his attention to acting and film making. And he is excited about his third movie, one that he wrote and directed, which he hopes will be ready for release and distribution by the end of the year.

In fact, Epidemic Chronicles: "No One is Exempt" has already created a buzz from its debut trailer at several pride gatherings earlier this year.

"The awareness and urgency of a film like this is so vital in these times," he said. "With a pandemic [HIV/AIDS] of this magnitude we need an innovative approach along with action to end this epidemic."

It is unfortunate that AIDS is still a taboo topic for us and while many of us are living smarter, we don't talk about it like we should. It's time that we put this conversation in the forefront like our White counterparts have already done.

Someone is dealing with HIV/AIDS every day and we need to be more compassionate.

For more information about the film, go to:

For Ever Standing

We've come so far in our great society with questions of what's proper and how to proceed towards a better future. 

It's a query that is surely on the minds of us all, so the prospect of viewing a dance performance as part of the 21st century equation was a welcome and intriguing one for me as an artist living right now. 

Is it even possible to have and maintain one's voice or vision in our media obsessed age of technology?

I'm pleased to report that a very clear vision of modernity and the future aesthetic in concert dance was beautifully realized by the OPUS Dance Theatre Company at Harlem's Aaron Davis Hall on October 30, 2009. 

OPUS was presented as part of Harlem Stage's Fall Season.

"Since 1979, Harlem Stage has supported artists and organizations around the corner and across the globe, and provides children and adults with engaging and interactive education programs." 

This program included five incredibly dynamic and diverse works that left no doubt about the potential of the ODTC.

Mr Thomas' work was graceful and rich with details. The dancers were the true stars of this piece as each movement was laced with high glamour. Of note were sultry Fernando Carillo and Jonathan M Ponder as the ritual's high "priest" guiding audience with motion and spoken word on a journey that leads to a distinctively just final joining of the couples.

The rare melding of a choreographer's own original music with his movement is a wonderful thing which transported this observer to an unfamiliar but very desirable place. 

Noteworthy in this work were the radiant Sisley Loubert and Byron Roman Jr.

Nasha Thomas Schmid and James Buster Grant 

Harnessing the generous use of flowing arms and wonderful use of the whole stage, Mr. Page's movement seemed to lengthen our emotions in every phrase and once again the dancers' technical abilities impressed by conveying the ease and the unique lovely challenges of edgy choreography.

Christopher Huggins, Krystal Hall-Glass and Jamal Gaines

Ms Adamo has the ability carry the anticipation of the audience in each amazing movement she made. 

Her performance conveyed every meaning the words "proud" and "soul" could have. 

This was a powerful work made even more so by a strong, committed, thoughtful, powerful dancer.

Byron Roman Jr, Michael, Keiko, 
Fernando Carillo, Jonathan M Ponder

Mothers of War," the night's final work by Christopher Huggins offered the audience cutting commentary and a reminder of the world in which we live. 

This work was thoughtful and majestic from the first light cue to the final curtain. Again the marriage of dynamic choreography and superlative dancing fused to create a narrative that the drug the audience in, held the audience in awe, and left the audience on its feet. Of note were Aslynn Thomas as Mother and Byron Roman, Jr. as Son.

At the evenings close Executive Director James "Buster" Grant reiterated the mission of OPUS and its future. 

Sisley Loubert and Yannick Lebrun

It is the title of the evening's show, "Soulful Art for the 21st Century." Having seen this mission in action I am convinced the years ahead are very bright for OPUS. Under the leadership Mr. Grant and Artistic/Rehearsal Director Leonard Meek the company is embarking on its 21st year of sharing the poetry of motion with the world.

  That sharing comes with dynamic choreography, amazingly well trained artists, and a clear vision of substance and style. I encourage everyone to support this company in whatever form you can so that their joyous mission is shared with the world. No one will be disappointed!

Perhaps you are reminded of Arthur Mitchell, the founder of Dance Theatre of Harlem who electrified the world of ballet and successfully battled racism as "premier danseur" for the New York City Ballet, first joining the company in 1955. 

Maybe the image that haunts you is that of Alvin, the Rogers, Texas-native best known for choreographing the moving piece "Revelations" and founding the Alvin Ailey American Dance Theatre in 1959.

Certainly these icons of dance, both living and dead, deserve our recognition and praise but there are other equally gifted dancers and choreographers on the horizon who are

As an example, consider the one-two punch of Kevin Iega Jeff (artistic director) and Gary Abbott (associate artistic director) of Chicago's Deeply Rooted Productions [DRP].

Jeff, a towering, muscular yet graceful figure, is a Julliard graduate whose dance prowess and innovative choreography have captivated audiences for over 25 years. 

One of the founders of DRP which next year will celebrate its 15th anniversary, and its current executive director and artistic director, he has provided choreography and direction for some of the most respected dance companies in the world including: Alvin Ailey American Dance Theatre, River North Dance Company, Dallas Black Dance Theater, Cleveland Contemporary Dance Theater and the Wylliams/Henry Danse Theater.

Together, they now stand on the verge of bringing Deeply Rooted Dance Theatre to the attention of not only the citizens in their home base of Chicago, but to the world. Fresh off their critically acclaimed concert program "Touch," which boasted three premiers and two works from the company's repertoire in Chicago, the duo were recently in Atlanta for a performance, "Up Close and Personal," hosting an intimate evening at the Atlanta Ballet Center for Dance Education.

"I have always been inspired by the idea of touch and decided to use it as our theme for this season," Jeff said. "Our goal is to touch the community by sharing power, intimacy and joy. This season we have moved from our former site, the Harris Theatre, to the Harold Washington Cultural Center. It's a more intimate space and because it is not as cavernous as Harris, it fits nicely with our theme. The works we recently performed were very exciting for me, especially my world premiered piece "Wild in the Wind," which is based on and choreographed to the same-titled song by Nina Simone. 

I was also pleased to bring a piece, "Sweet in the Morning," that is a company premier which I choreographed and originated when I was with Jubilation Dance Company in New York [Jeff founded the dance group at the age of 21]."

Abbott's abstract dance piece, "53 Inhale," is another performance that reflects the artist's continued growth and maturity as a topnotch choreographer.

"The work indicates what I felt as I turned 50 and is based on the physical and mental changes that occur for us as we mark that milestone in our lives," he said. "The dance movements are based on situations and creative experiences in my life. 

I was also proud to be part of the company premier of "Somewhere," which was inspired by the piece that was sung in West Side Story. We chose a version by the incomparable Aretha Franklin. Our second company has been working on it for a few years and they continued to grow with it - this was the right time for us to bring it to the main stage."

"I am moved by the magnitude of our journey and its impact on the people who have worked with us and whose talents have made our efforts worthwhile," Jeff said. "I feel that we are a company that is in transition - 15 years is a long time. 

We are truly on the verge of even greater possibilities, particularly if the Chicago community continues to embrace us the way they have. It took a lot of work to get to this point and to transmit our vision for the organization to the public. 

We are blessed in that many resources are now coming our way and we plan to use those resources to continue to grow to the next level."

"We tell our folks that we are family - that's part of our mission," Jeff said. "And we encourage them to take advantage of any opportunity that comes their way, whether it's as a dancer, a choreographer or a filmmaker. 

What happens is that the performances that people experience are from our collective voices - not just from me and Gary. And while these may be difficult times economically, we continue to weather the storm. For us, anyone involved with Deeply Rooted is encouraged to find ways for empowerment through the sharing of their gifts and talents.

Gary Abbott and Kevin Iega Jeff

For more information go to:

Deeply Rooted Productions

After the Dance: The Artists Speak

The artistry and beauty of dance in all of its myriad forms has always fascinated this writer. But to experience the short program performed by the members of Deeply Rooted Productions during their recent visit to Atlanta, where the company hopes to soon expand its program, was an evening to behold.

Even the standout actress and former Ailey dancer Jasmine Guy, who has recently returned to her hometown of Atlanta, was clearly moved by the synchronized, perfectly executed display of dance precision from the ensemble.

"Watching you I was reminded of the spirit and tenacity it takes to be a high caliber dancer," Guy shared with the group after the completion of the show.

Brian Harlan Brooks, 37, has been with the group since its inception 15 years ago and was the featured dancer in the final dance, Church of Nations - a dramatic piece that uses black folding chairs as the only prop and takes these "church leaders" from movements akin to a boys' choir to a finger-popping Janet Jackson-like march reminiscent of her Rhythm Nation video.

The emotion in their faces told the anguish they felt when war oppresses our land and the "hear no evil, see no evil, speak no evil" motif which was done with rapid hand movements and a series of moans was one of the most creative moments in dance this writer has ever seen.

"When you are a dancer you are conditioned to train every day, and that training never stops," Brooks said. "And when we see others committed to that same kind of work ethic we want them to be part of the group."

Brooks was referring to one the group's newest member, Tyrell V. Rolle, who moves across the stage as if we were dancing his whole life.

"I met Tyrell while he was a scholarship student," Brooks continued. "Now he serves as one of our rehearsal directors. We keep the continuum going and the younger dancers - they continue to inspire me to do my very best."

"Sometimes we get caught up in the struggle to get ahead and become lost in the marketing side of the business - to the point that we lose our history and the reason we are here," Jeff said. "

As Brian reminds us, we stand on the shoulder of many great men and women who came before us."

"The work is always at the center of our attention," Brooks said. "You are humbled by it at times and learn how to express your own gifts in every role. When we dance, we have fun."

From the Brazilian ballerina, Carolina Monnerat, whose face tells a million stories every time she dons the floor [and who is currently working on a documentary about DRP] to the multi-talented Tracey Franklin whose agility is beyond belief and the sultry Cecelia Webster Jones, a dancer with knockout legs and whose lines, point and stretches confound the imagination, Deeply Rooted Productions is an ensemble that should not be missed. They are what modern dance is all about.

Even the mental images that I have seen and often form have sometimes reflected a sense of gender superiority, manifesting themselves in the way I talk, move and interact with my "sisters."

So, it was an eye-opening, mind-blowing experience to view, along with the director of the Spelman College Museum of Fine Art, Andrea Barnwell Brownlee who also serves as one of the co-curators, along with Karen Comer Lowe, the much ballyhooed exhibition, Undercover: Performing and Transforming Black Female Identities on the grounds of the historic black college campus.

The original exhibition, which runs through December 5th, examines the social implications of race, gender and disguise and considers

This wonderful collection of art is presented in three sections - disguise, fragmentation and adornment - and includes more than 75 works represented in a variety of mediums: painting, photography, sculpture, video and works on paper that were all created from 1926 to today.

"One of the first things you see is a photograph of the daughter of Elijah Muhammad, as envisioned by the great Gordon Parks," Brownlee said. "It's clear in the photograph that she is committed to a life of piety and is seen as part of a collective of same-minded women.

But looking closer we also see the range of definitions and disguises that women have often assumed."

The factors that have made both men famous and the images they portray need to be talked about. The question that arises is who benefits more from both men going undercover in that way."

One of the things that will immediately capture the attention of one with a discerning eye is the layout of the exhibit. Brownlee remarked that she and her colleague knew from the start that they wanted to divide the works into three sections and that they wanted to present works by emerging, mid-career and established artists.

"Our image of how we would present the works went out the window when we had everything in front of us," she said. "It was like Christmas Day. You have to understand that this is an original show - none of these pieces have ever been seen together. When we realized the treasures we had I guess that's when the curatorial process began."

The works on display will undoubtedly lead the viewer to consider a host of questions, like Nick Cave's Sound Suit (mixed media), an actual costume that is worn by women in many countries during regional celebrations. Seen as a representative of androgynous form it begs the questions who is in disguise and who's really hiding.

"Cave's costume is one of our contextual works and it also makes noises as the wearer moves about," Brownlee said. "He is a dancer himself and understands the importance of movement but what really adds to the mystery is that once the costume is put on you are unable to tell whether the person behind the mask is a man or a woman."

"How we present ourselves in the public's eye often impacts how we are treated by others," Brownlee said. "We hope that by our students seeing these works, they will feel more comfortable in addressing issues like race, gender and sexuality. I believe that the art will move them to critique, challenge, contradict, question and protest the whole notion of privilege - white privilege and male privilege.

We want to arm young women so that they can talk about the number of ways that Black women represent themselves and are represented by other people. These responses have consequences and they are important for us to discuss."

A closing reception will be held on Thursday, Dec. 10th at 6:30 p.m. For more information about the exhibition and other events, go to Spelman Museum