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Local Black Filmmakers Showcase: Next up – short films by Jason Fischer on Tuesday, March 5 at 6 p.m.


Local Black Filmmakers Showcase

A February-March 2019 film festival @ College of Saint Mary, 7000 Mercy Road

6 p.m. | Gross Auditorium in Hill Macaluso Hall

Featuring screen gems by Omaha’s own Omowale Akintunde and Jason Fischer

Support the work of these African-American community-based cinema artists

 

Next up – three short films by Jason Fischer

Screening on Tuesday, March 5:

•The art film “I Do Not Use” pairs searing, symbolic images to poet Frank O’Neal’s incendiary words.

•The documentary “Whitney Young: To Become Great” uses the civil rights leader’s life as a model for kids and adults to investigate what it takes to be great.

•And the award-winning “Out of Framed: Unseen Poverty in the Heartland” documents people living on the margins in Omaha.

 

Screenings start at 6 p.m.

Followed by Q & A with the filmmaker moderated by Leo Adam Biga.

Tickets and parking are free and all films are open to the public.

For more information, call 402-399-2365.

Still to come – a screening of Omowale Akintunde’s award-winning documentary “An Inaugural Ride to Freedom” about a group of Omahans who traveled by bus to the first Obama inauguration. Plus a bonus documentary on the second Obama inauguration. Followed by Q&A with the filmmaker moderated by Leo Adam Biga. Date and time to be determined. Watch for posts announcing this wrap-up program in the Local Black Filmmakers Showcase.

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Sandhills life gets big screen due thanks to filmmaker Georg Joutras and his “Ocean of Grass”


Oceans of grass

 

Sandhills life gets big screen due thanks to filmmaker Georg Joutras and his “Ocean of Grass”

©by Leo Adam Biga

Appearing in the March-April 2019 edition of Omaha Magazine

This decade has found Nebraska’s wide open spaces pictured on the big screen more than ever before. First came the melancholic, madcap road trip of Alexander Payne’s Nebraska in 2013. Then, in 2018, came the Coen Brothers’ Western anthology fable The Ballad of Buster Scruggs. Earlier that same year Georg Joutras debuted his documentary Ocean of Grass about a year in the life of a Sandhills ranch family.

Where Payne and the Coens use Nebraska landscapes and skyscapes as metaphoric backdrops for archetypal but fictional portraits of Great Plains life, Joutras takes a deeply immersive, reality-based look at rural rhythms. Joutras celebrates the people who work the soil, tend the animals and endure the weather.

As Hollywood dream machine products by renowned filmmakers, Nebraska and Buster Scruggs enjoyed multi-million dollar budgets and national releases. Ocean of Grass, meanwhile. is a self-financed work by an obscure, first-time filmmaker whose small but visually stunning doc is finding audiences one theater at a time.

For his truly independent, DIY passion project, he spent countless hours at the McGinn ranch north of Broken Bow, Aside from an original music score by Tom Larson, Joutras served as a one-man band – handling everything from producing-directing to cinematography to editing. He’s releasing the feature-length doc via his own Reconciliation Hallucination Studio. In classic road-show fashion he delivers the film to each theater that books it and often does Q&As.

A decade earlier Joutras self-published a photo illustration book, A Way of Life, about the same ranch. The 56-year-old is a lifelong still photographer who feels “attuned to nature”. He operated his own gallery in Lincoln, where he resides. A chance encounter there with Laron McGinn, who makes art when not running the four-generation family ranch, led to Joutras visiting that expanse and becoming enamored with The Life.

Joutras, who grew up in Ogallala from age 11 on, had never stayed on a ranch or stopped in the Sandhills until the book. Those were places to drive past or through. That all changed once he spent time there.

Ogallala became his home when he moved there with his family after stints in his native New Jersey, then Florida and Texas, for his sales executive father’s jobs.

Joutras is not the first to create a film profile of a Nebraska ranch family, A few years before he moved to Ogallala, a caravan of Hollywood rebels arrived. In 1968, Francis Ford Coppola, along with a crew that included George Lucas and a cast headed by Robert Duvall, James Caan and Shirley Knight, shot the final few weeks of Coppola’s dramatic feature The Rain People. That experience introduced Duvall to an area ranch-rodeo family, the Petersons, who became the subjects of his 1977 documentary We’re Not the Jet Set, which filmed in and around Ogallala.

The McGinns’ ranching ways may have never been lensed by Joutras if not for his meeting Laron McGinn. Joutras had left a successful tech career that saw him develop a Point of Sale system for Pearl Vision and an automated radio system (PSI) acquired by Clear Channel. Having made his fortune, he retired to focus on photography. He did fine selling prints of his work. Then he met McGinn and produced A Way of Life – one of several photo books he produced.

 A Way of Life: Ranching on the Plains of America,  a book written by Georg Joutras was the inspiration of his documentary film  Ocean of Grass  that will

A Way of Life: Ranching on the Plains of America, a book written by Georg Joutras was the inspiration of his documentary film Ocean of Grass that will be shown at the Hippodrome Arts Centre in Julesburg on Tuesday, January 8, and Thursday, January 10 with showings at 7 p.m. (Courtesy Photo)

Joutras only got around to doing the film after his family gifted him with a video camera. He began documenting things on the ranch. After investing in higher-end equipment he decided to ditch the year’s worth of filming he’d shot with his old gear to begin anew.

“It was evident immediately the picture quality was so much better than what I had shot the prior year that I was going to have to shoot it all again. So I put another year into shooting everything that goes on out there,” Joutras says. “I basically worked alongside the folks at the ranch. When something happened I thought I should capture, then I’d go into cinematographer mode.”

Upon premiering the film in Kansas City and Broken Bow, he discovered it resonates with folks, Sold-out screenings there have been followed by many more across Nebraska. The reviews are ecstatic.

“People are getting something out of this film,” he says, “They say it reflects the Nebraska ethos. I never did this film anticipating I’d make even one dollar on it. I just had this story I really wanted to tell. It’s certainly achieved much more than I thought it would. It’s done well enough that I’ve recouped pretty much what I put into it.”

Joutras believes his film connects with viewers because of how closely it captures a certain lifestyle. The rapport he developed and trust he earned over time with the McGinns paid dividends.

“I got the footage I did by being around enough and being embedded with them and being part of the crew that works out there. I wanted to earn my keep a little bit and they let me feed cows and run fence and check water. You have to be around enough to where you’re nothing special – you just kind of blend into the background.”

His depiction of a people and place without adornment or agenda is a cinema rarity.

“What I was really trying to capture was the feeling of this place – what it feels like to be out there among the people, the cows, the wind, the sun, the cold. Everything that makes it special. You’re seeing the real thing. Everything in the film is as it happened. Nothing was staged.

“These people are authentic. What they’re doing is authentic. Pretty much everyone you come in contact with in the ranching environment is their own boss. People don’t have to fake who they are. It’s really the American story of hard work trumps everything.”

The film makes clear these are no country bumpkins.

“They are some of the smartest people I know,” Joutras says. “They know how things work and are very articulate expressing their beliefs. By the end of the film I think you understand and admire them,”

He feels viewers fall under the same Sandhills spell that continues captivating him.

“The quality of life I think is exceptional. The pace of life slows down. You get to see real Americans doing real hands-on, get-in-the-mud work.”

He tried conveying in the film what he feels there.

“Out there I feel more in touch with nature and what’s important in life. I feel more grounded. I feel I can breath better. It’s really just a feeling of peace.”

The rough-hewn spirit and soul of it is perhaps best embodied by family patriarch Mike McGinn.

“Mike’s a great guy. He’s sneaky funny. There’s nothing I enjoy more than being in a pickup with him going out to feed cows, which can take half the day or more. He was always reluctant to talk on camera. His was the last interview we got, and it’s just gold. He has all the great lines in the film.

“We got him to watch the film and at the end he turned to me and said, ‘That’s my entire life right there.’ That was a great moment for me.”

Rather than hire a narrator to frame the story, the only voices heard are those of the ranchers.”because they said it better than anyone,” Joutras says.

Beyond the McGinns and their hands, the film’s major character is the Sandhills.

“From a visual standpoint there’s nothing that gets me more excited than attempting to capture really interesting and varied scenic shots that speak to people. The Sandhills are beautiful beyond belief in all their details – from the grass to the slope of the hills to the clouds coming across the prairie to the sound of the wind. It all works together.”

He acquired evocative overhead shots by mounting cameras to drones. The aerial images give the film an epic scope.

Ocean’s visuals have made him a cinematographer for hire. He’s contributing to three films, including a documentary about the women of Route 66.

Future Nebraska-based film projects he may pursue  range from rodeo to winemaking.

Meanwhile, he’s pitching Film Streams to screen Ocean.

“We’ll get it into Omaha one way or another.” More out-of-state screenings are in the worked.

Nebraska Educational Television has expressed interest. PBS is not out of the question.

Joutras is just glad his “little film that can” is getting seen, winning fans and giving the Sandhillls their due.

Visit the film’s website at http://www.oceanofgrassfilm.com.

Watch the trailer at https://www.youtube.com/watch?v=hNV6E5ihjP0.

Read more of Leo Adam Biga’s work at leoadambiga.com.

sandhills grass

8.24 FRI 7:00 p.m.
8.25 SAT 3:00 p.m.

Local Black Filmmakers Showcase continues tonight with “Wigger”

February 28, 2019 Leave a comment

Local Black Filmmakers Showcase featuring screen gems by Omaha’s own Omowale Akintunde and Jason Fischer

Support the work of these African-American community-based cinema artists

 

February-March  2019

College of Saint Mary

6 p.m. | Gross Auditorium in Hill Macaluso Hall

The work of award-winning Omaha filmmakers Omowale Akintunde and Jason Fischer highlight this four-day festival at College of Saint Mary.

 

Next up:

“Wigger” (2010)

From writer-director-producer:

Omowale Akintunde

 

Screening tonight – Thursday, February 28 @ 6 p.m. 

Followed by a Q&A with flmmaker Omowale Akintunde. 

Moderated by Omaha fllm author-journalist-blogger Leo Adam Biga.

 

Shot entirely in North Omaha, “Wigger” explores racism through the prism of a white dude whose strong identification with black culture ensnares and empowers him amidst betrayal and tragedy.”Wigger” is a spellbinding urban drama, which chronicles the life of a young, White, male (Brandon) who totally emulates and immerses himself in African American life and culture. Brandon is an aspiring R&B singer struggling to overcome the confines of a White racist, impoverished family headed by a neo-Nazi father who is absolutely appalled by his son’s total identification with Black culture. Additionally, he is oft times reminded of his position of privilege by virtue of being White in a White, racist society despite his adamant efforts to transcend “Whiteness”, institutionalized racism, and find a place for himself in a world in which he rejects Whiteness but is not always fully embraced by African American culture. Ultimately, this is the story of a young White, inner-city, male caught up in an emotional, psychological, experiential, and racial “Catch 22” determined to be granted acceptance in the life and culture with which he chooses to identify.

Wigger Poster  

The Festival continues on Tuesday, March 5 with  three short films by Jason Fischer taking center stage. The art film “I Do Not Use” pairs searing, symbolic images to poet Frank O’Neal’s incendiary words. The documentary “Whitney Young: To Become Great” uses the civil rights leader’s life as a model for kids and adults to investigate what it takes to be great. “Out of Framed: Unseen Poverty in the Heartland”documents people living on the margins in Omaha.

 

NOTE: The March 5 Jason Fischer program was originally scheduled for February 25 but was postponed due to inclement weather.

The February 26 program featuring Omowale Akintunde’s Emmy-award winning documentary “An Inaugural Ride to Freedom” was also postponed due to weather and will be rescheduled at a date to be determined later.

 

All films begin at 6 p.m. and will be screened in Gross Auditorium in Hill Macaluso Hall at College of Saint Mary, 7000 Mercy Road.

A Q & A with the filmmaker follows each screening. 

Tickets and parking are free and all films are open to the public.

For more information, call 402-399-2365.

 

Local Black Filmmakers Showcase featuring screen gems by Omaha’s own Omowale Akintunde and Jason Fischer

February 26, 2019 Leave a comment

Local Black Filmmakers Showcase featuring screen gems by Omaha’s own Omowale Akintunde and Jason Fischer

Support the work of these African-American community-based artists

 

February-March  2019

College of Saint Mary

6 p.m. | Gross Auditorium in Hill Macaluso Hall

The work of award-winning Omaha filmmakers Omowale Akintunde and Jason Fischer highlight this four-day festival at College of Saint Mary.

On Tuesday February 26, Akitnunde’s “An Inaugural Ride to Freedom” charts a trip Nebraskans made to D.C. for Obama’s historic first inauguration. On Wednesday, February 27, it’s the world premiere of Akintunde’s television pilot “It Takes a Village,” which turns black situation comedy on its head. On Thursday, February 28, his impressive dramatic feature debut “Wigger,”shot entirely in North Omaha, explores racism through the prism of a white dude whose strong identification with black culture ensnares and empowers him amidst betrayal and tragedy.

On Tuesday, March 5 three short films by Fischer take center stage. The art film “I Do Not Use” pairs searing, symbolic images to poet Frank O’Neal’s incendiary words. The documentary “Whitney Young: To Become Great” uses the civil rights leader’s life as a model for kids and adults to investigate what it takes to be great. “Out of Framed: Unseen Poverty in the Heartland”documents people living on the margins in Omaha.

Screenings start at 6 p.m. Q &As follow the February 27. February 28 and March 5 showings.

All films begin at 6 p.m. and will be screened in Gross Auditorium at College of Saint Mary, 7000 Mercy Road 68106.

Tickets and parking are free and all films are open to the public.

For more information, call 402-399-2365.

Local Black Filmmakers Showcase

Tuesday, February 26th

“An Inaugural Ride to Freedom”

Wednesday, February 27th

Premier screening:

“It Takes a Village”

Director Q&A with Omowale Akintunde

February 28th

“Wigger”

Director Q&A with Omowale Akintunde

Tuesday, March 5

Short Films (originally scheduled for Feb. 25)

“I Do Not Use”

“Whitney Young To Become Great”

“Out of Frame: Unseen Poverty in the Heartland”

Director Q&A with Jason R. Fischer

Holiday book sale: “Alexander Payne: His Journey in Film”

December 18, 2018 Leave a comment

Holiday book sale:

“Alexander Payne: His Journey in Film”

by Leo Adam Biga

For you and/or the film lover in your life

Retails at $26

Now on sale for $20 directly from me

(while supplies last)

Acclaimed filmmaker Alexander Payne uses satire to take the measure of his times. Award-winning writer Leo Adam Biga draws on 20 years covering the writer-director to take the measure of this singular cinema artist and his work.

 

 

Film scholar-author Thomas Schatz (“The Genius of the System”) said:

“This is without question the single best study of Alexander Payne’s films, as well as the filmmaker himself and his filmmaking process. In charting the first two decades of Payne’s remarkable career, Leo Adam Biga pieces together an indelible portrait of an independent American artist.This is an invaluable contribution to film history and criticism – and a sheer pleasure to read as well.”

National film critic Leonard Maltin said: “Alexander Payne is one of American cinema’s leading lights. How fortunate we are that Leo Biga has chronicled his rise to success so thoroughly.”

Available at this special sale price only by contacting me here or at:

402-445-4666 or leo32158@co.net

 

If you want a copy mailed to you, send a check for $25 (includes shipping and handling) made out to Leo A. Biga, along with your return address, to: 

Leo A. Biga

10629 Cuming St.

Omaha, NE 68114

Please indicate if you wish a signed copy.

 

As screen veteran Yolonda Ross from Omaha enjoys today’s black renaissance, she gears for next big career move

December 12, 2018 1 comment

Yolanda Ross

 

 

 

 

 

 

 

 

 

 

 

 

 

As screen veteran Yolonda Ross from Omaha enjoys today’s black renaissance, she gears for next big career move

©by Leo Adam Biga

Appearing in the December 2018 issue of The Reader (www.thereader.com)

In her two decades as a working screen actress Omaha native Yolonda Ross has seen Black Cinema explode and women filmmakers assert themselves. She’s “making it happen” herself as a recurring character in Showtime’s The Chi after recurring parts in How to Murder Your Wife, The Get Down and Treme. She’s in HBO’s latest hit Random Acts of Flyness. She plays opposite Patricia Clarkson, James Caan and Toby Jones in the new indie feature Out of Blue.

Next spring, she breakouts behind the camera for her feature writing-directing debut, Scenes from Our Marriage. It shoots in her adopted hometown New York City with the same production team from the 2012 short Breaking Night she wrote-directed. She’s also executive producing and starring in Scenes. She and Clarke Peters are husband and wife theater artists dealing with professional challenges, jealousy, infidelity and race.

Omaha native Tim Christian’s Nightfox Entertainment is co-producing.

Ross left Omaha for NYC to pursue a fashion career. The multitalented artist (she also sings and paints) is glad for more opportunities today than ever.

“Yeah, this is a great time to be a black creative in our industry,” Ross said.

The emergence of Shonda Lynn Rhimes, Lena Waithe, Ryan Coogler, Jordan Peele, Terence Nance and other black TV-film players marks a wave if not sea change.

“Things have improved some,” Ross said. “I think it’s great there’s more people of color telling their own stories and not having pretty much the white race telling everybody else’s story. It makes for more specific voices for people to really see themselves on screen. It’s from a more authentic place because it’s coming from the people that live it.

“There’s still a lot of change that can happen though. There needs to be more people of color on the other side as far as green-lighting and distributing because you can produce things, but that still doesn’t necessarily mean they’re going to get picked up.”

Ross has also seen her industry change in terms of how talent and content get discovered.

“Now having the Internet very much planted in the middle of everything, because you can stream everything, definitely has broadened the industry and made it smaller at the same time. There’s a whole crop of people that are stars now for not really doing anything but talking to a camera telling you about something, which is not actually acting.

“They’re just very different things.”

She sees a content glut.

“I feel it’s all very saturated right now. There’s an overload of material out there. You have to really look for the quality stuff. As far as acting, I feel if you are at the top of what you do in your work, the cream of the crop still rises no matter the clutter. You just have a lot more to get around than before because everybody’s jumbled up into one big industry.”

Concurrent with these trends are new funding, production, distribution mechanisms to help women get their work seen and supported.

“It’s wonderful,” said Ross, who’s worked with many women directors (Cheryl Dunye, Reed Morano, Carol Morley).

Her upcoming feature is getting love from Level Forward, a female-run production company supporting women’s stories and women of color.

Her project is also nurtured by Film Independent and its Fiscal Sponsorship Program, which opens the door to nonprofit funding for independent filmmakers and media artists. The Friends of Mary Riepma Ross (no relation) Media Arts Center in Lincoln, Nebraska made a grant to her project through the program.

“My film is also going to be in Film Independent Fast Track,” Ross said. The film financing market held during the LA Film Festival helps producers-directors “fast track” their projects via intensive meetings with executives, financiers, agents, managers, distributors, granting organizations and production companies.

Meanwhile, Ross, who’s worked with Denzel Washington, John Sayles, David Mamet and Baz Luhrmann, continues keeping good company. Being part of Terence Nance’s Flyness is the latest example.

“I think Terence is one of those voices we need to see. We need his Afropunk voice. We need voices like his. We need Lena Waithe’s voice. We need my voice. We need these different kinds of voices with black skin to show that we are not all the same. We don’t all think the same, we don’t all process things the same.”

Ross has prepared to make her own feature for years.

“I’m really psyched about it. We have a lot of things to say. I’m so ready. All the directors I’ve worked with, all the Sundance labs I’ve done, all the different mediums I’ve worked in – it all helps with making my own first feature film. Also, I feel I understand how to deal with other actors to get emotion without over-talking, overdoing things – but just letting people do their work.

“My experience working with so many people allows me to get the best actors, and they’re willing to do favors, which is great. In terms of production, I understand how to get things in an efficient way because I’ve dealt with so many different types of situations. I’m able to look at things from the outside in and from the inside out, where sometimes directors kind of get stuck in the writing or the set. I also have a strong team around me to keep me on track so that I can lock down and streamline what I want to get in a moment, in a scene.”

Doing Breaking Night was “extremely important,” she said. “I needed to learn every step in making a film – from writing it to getting it out to festivals. Not only did I learn everybody’s job, I dealt with everything from insurance to licensing music. I needed to understand the business side. It’s helped me preparing to make this feature. I can talk to my producers about different elements and guide the project in a way that will be bes as far as time, money, creatively, everything.

“I like the producing aspects of filmmaking.”

Her screen journey began in earnest with her breakthrough in the 2001 HBO movie Stranger Inside.

“When you’re in it, sometimes you don’t look back on it because everything is about the next job. You’re always striving for more. Whatever you did in the past is great, but it’s also the past. But I’m very thankful to be here and to be able to have touched people in various ways. I’m thankful to continue to work on great projects and to be able to support myself by doing my passion, my art.”

She’s never forgotten her roots.

“I’m always down to do things in Omaha. I was just there (May) at the Dundee Theater for a panel on women in television. Supporting artists there is totally my thing. I feel seeing people who grew up in the same setting as you living their dream is a really powerful thing.”

Visit yolondaross.com.

Read more of Leo Adam Biga’s work at leoadambiga.com.

 

Nebraska Screen Gems – Rediscover Oscar-winning 1983 film “Terms of Endearment” on Wednesday, Oct. 24

October 21, 2018 Leave a comment

Screening-discussion of the most decorated of all the Screen Gems Made in Nebraska:

“Terms of Endearment” (1983)

The James L. Brooks film became a critical and box office smash. It brought legendary stars Jack Nicholson and Shirley MacLaine to the state along with then-newcomer stars Debra Winger and Jeff Daniels. Nearly two decades later, Nicholson would return to Nebraska to star in Alexander Payne’s Omaha-shot “About Schmidt.”

“Terms of Endearment” shot extensively in and around Lincoln, Nebraska.

Wednesday, October 24, 5:45 p.m.

Metro North Express at the Highlander

Non-credit Continuing Ed class

Part of fall Nebraska Screen Gems film class series

Register for the class at:

https://coned.mccneb.edu/wconnect/ace/ShowSchedule.awp?&Criteria…

This class in my fall Nebraska Screen Gems series will screen and discuss a film that established James L. Brooks as a feature writer-director to be reckoned with following his success in television.

Brooks stamped himself a modern movie comedy master with his 1983 adaptation of the Larry McMurtry novel “Terms of Endearment.” This feature film directorial debut by Brooks came after he wrote the movie “Starting Over,” which Alan J. Pakula directed, and after he conquered television by creating “Room 222,” “The Mary Tyler Moore Show” and “Taxi.” For his first film as writer-director, Brooks wonderfully modulates the comedy and drama in a story about a young wife-mother whose marriage is falling apart and her widowed mother who unexpectedly finds new romance. Infidelity and terminal cancer get added to the high stakes. In what could have been a maudlin soap opera in lesser heads plays instead as a raw, raucous slice of life look at well-meaning people stymied by their own flaws and desires and by events outside their own control.

The film was partially shot in Nebraska. The exteriors intended to be in Des Moines, Iowa, Kearney, Nebraska, and Lincoln, Nebraska, were all filmed in Lincoln. Many scenes were filmed on or near the University of Nebraska-Lincoln campus, During filming in Lincoln, Debra Winger met the then-governor of Nebraska, Bob Kerrey, and wound up dating him for two years.

To a man and woman, the principal characters are unapolegetically their own strong-willed people. MacLaine is the vain, severe Aurora Greenway, whose fierce love and criticism of her daughter Emma (Winger) drives a wedge between them that their devotion to each other overcomes. Daniels plays Emma’s unfaithful professor husband Flap. Nicholson plays Garrett Breedlove, the carousing ex-astronaut neighbor of Aurora who, unusual for him, finds himself falling for a woman his own age when he discovers that his neighbor is not the brittle bitch he thought.

During the period “Terms” was in production, MacLaine and Nicholson were the two big names in the cast, but the lead, Winger, had only just become a star by virtue of her performance in “An Officer and a Gentleman” (1982). DeVito was a TV star from “Taxi.” Lithgow was still better known for his stage work than his screen work. Daniels was a newcomer.

The strong ensemble cast is headed by Nicholson and MacLaine, who inhabit their roles so fully that it’s hard to imagine anyone else in them.

Veteran Omaha stage actor Tom Wees has a speaking part as a doctor and ably holds his own with the heavyweight stars.

Of all the films ever made in Nebraska, “Terms” is by far the most honored. It was nominated for 11 Oscars and won five (for Best Picture, Best Director and Best Adapted Screenplay and MacLaine as Best Actress and Nicholson as Best Supporting Actor.) The picture also won four Golden Globes: Best Motion Picture – Drama, Best Actress in a Drama (MacLaine), Best Supporting Actor (Nicholson) and Best Screenplay (Brooks).

Brooks followed this film with two more instant comedy classics: “Broadcast News” and “As Good as It Gets” and added to his TV legend by creating “The Simpsons.”

Here is a link to register for the class:

https://coned.mccneb.edu/wconnect/ace/ShowSchedule.awp?&Criteria…

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