Hello world, and you are welcome, I step into sharing Vanessa Brantley-Newton’s story with that much confidence, utterly convinced that you will thank me, later, en masse, for introducing you to the one, the only children book author/illustrator Mrs. Brantley-Newton.

I’ll begin by sharing her accolades and accomplishments because when I rewind to her beginning, you will understand that despite the devastating obstacles, Vanessa’s stayed true to her passions and didn’t abandon the little girl inside of her, and this is a lesson that I hope (finger and toes crossed) that you take away and share with others.

Vanessa entered my creative orbit during a free seminar sponsored by the Storyteller Academy, a community of authors, illustrators, editors, agents, and publishing professionals who share their creative secrets and insider tips for creating award-winning books.

Storyteller Academy’s mission is simple: To help aspiring authors and illustrators learn the art of storytelling and get published.

Vanessa teaches Character Design in a combination of live-zoom classes and prepared workshops.

 

Her course includes lessons in how to birth a character, diving into questions that explore learning about your character, how to draw their expressions, design their wardrobe, choose colors and textures and bring them to life.

 

All of the courses at Storyteller Academy are taught by professionals who believe that everyone is creative and has stories to tell and believe that illustrators can write and writers can draw.

They believe that a diverse world deserves diverse books made by diverse storytellers, and they believe in supportive critique groups, revising until you get it just right, learning business and marketing skills are just as vital to your success as the craft of storytelling.

If you get the vibes that Storyteller Academy is filled with positive, creative, experienced instructors (who care) then you will be correct. I joined this community because of Vanessa Brantley Newton.

No one with eyes can deny the incredible gifts bestowed on her by the God of her understanding. Formally, Vanessa attended both SVA and FIT of New York, where she studied fashion and children’s illustration. A character herself, in many ways, as an artist she loves all things vintage – especially books and clothes from the 40s through the 60’s – and it shines through in her designs, which run the gamut of fun and whimsical to stylish and sophisticated. She loves to add unique touches to her work, including mixed media accents, collage, and hand lettering. In short, she’s a bad-ass talent; full stop.

Vanessa was born during the Civil Rights movement and attended school in Newark, NJ. Being part of a diverse, tight-knit community during such turbulent times, she learned the importance of acceptance and empowerment in shaping a young person’s life.

 

When she read Snowy Day by Ezra Jack Keats [for clarity for the reader, Keats is a white man], it was the first time she saw herself [illustrated] in a children’s book. It was a “defining moment” in her life, and helped shape her into the staggeringly brilliant artist that she is today.

As an illustrator, she includes children of all ethnic backgrounds in her stories and artwork. The reason, simple, she wants all children to see their unique experiences reflected in the books they read, so they can feel the same sense of empowerment and recognition she experienced as a young reader.

Vanessa doesn’t talk about it like so many in Hollywood do, she walks it and celebrates self-love and acceptance of all cultures through her work, and hopes to inspire young readers to find their own voices. She first learned to express herself as a little girl through song. Growing up in a musical family, Vanessa’s parents taught her how to sing to help overcome her stuttering. Each night the family would gather to make music together, with her mom on piano, her dad on guitar, and Vanessa and her sister, Coy, singing the blues, gospel, spirituals, and jazz. Now whenever she illustrates, music fills the air and finds its way into her art. The children she draws can be seen dancing, wiggling, and moving freely across the page in an expression of happiness. Music is a constant celebration, no matter the occasion, and Vanessa hopes her illustrations bring joy to others, with the same magic of a beautiful melody.

CLIENT LIST

Abrams

Aladdin Books

American Girl

Bloomsbury

Blue Apple Books

Book Apple

Charlesbridge

Chronicle

Cricket Magazine

Disney-Hyperion

Focus on the Family

Hallmark

Harper Collins

Houghton Mifflin Harcourt

Lee & Low

National Geographic

 

Random House

Penguin

Scholastic

Simon and Schuster

Tricycle Press

AWARDS / HONORS

2019 Washington Post’s Best Children’s Books of the Year – “The King of Kindergarten”

2019 Bank Street College’s Best Books of the Year – “Grandma’s Purse”

New York Times Bestseller – “The King of Kindergarten”

Four Starred Reviews – “The King of Kindergarten”

2019 Society of Illustrators Original Art Show – “The King of Kindergarten”

2018 Bank Street College’s Best Books of the Year – “The Youngest Marcher”

2017 Chicago Public Library Best of the Best Books – “The Youngest Marcher”

2017 NAACP Image Award for Outstanding Literary Work Nomination – “The Youngest Marcher”

2016 CCBC Choices – “My Three Best Friends and Me, Zulay”

2016 Bank Street’s Best Children’s Books of the Year – “My Three Best Friends and Me, Zulay”

2015 CCBC Choice – “The Hula Hoopin’ Queen”

2015 CCBC Charlotte Zolotow Award – “The Hula Hoopin’ Queen”

2015 Bank Street College of Education Best Books – “The Hula Hoopin’ Queen”

2015 WSRA Picture This! Selection – “The Hula Hoopin’ Queen”

2015 Delaware Diamonds – “The Hula Hoopin’ Queen”

2014 Best Cover Award for Highlights’ Hello Magazine

2014 Society of Illustrators Original Art Show

2014 The Jane Addams Peace Foundation for Children’s Books Honor – “We Shall Overcome”

2014 Notable Social Studies Trade Books for Young People – “We Shall Overcome”

2013 Bank Street College of Education Best Children’s Book of the Year – “We Shall Overcome”

2013 Bank Street College of Education Best Children’s Book of the Year – “Every Little Thing”

Here is what award-winning author/illustrator Vanessa Brantley-Newton had to share about having money and still finding way to follow her bliss.

THE LOS ANGELES SENTINEL: I am blown away by the courses that are carefully crafted at Storyteller Academy (https://storytelleracademy-member.mn.co/all-courses) and that I joined because of you.

VANESSA BRANTLEY-NEWTON: That’s wonderful, Lapacazo.

LAS: Well, I can’t draw.

VBN: Yes, you can.

LAS: I joined StoryTeller Academy because of you. Do you remember the teacher, growing up, that made a difference in your life? Mine was Mrs. Nevins.

VBN: Yes I do. That was Miss Russell. Miss Russell had the biggest, orangest afro I had ever seen in my whole life. It looked like a cloud. She wore the shortest dresses and the coolest shoes. I loved Miss Russell. Once she set me on her lap and shared a beautiful book that has stayed with me all these years. It was about a young boy who wore a red snowsuit and lived in the hood as far as I was concerned, LOL! The thing that stood out about this boy was that he was brown just like me!

LAS: You mean THE SNOWY DAY by Ezra Jack Keats?

VBN: Yes. That’s the one. It was 1963 there weren’t many books that had a Black child as the main character, and when they were drawn in children’s books of old, Black people were drawn very cruelly and just plain ugly. The book moved me so because it would be the first time I would see a Black child that looked like me, dressed like me…might have even been me.

LAS: 1963. When you think about it, a lot of positive changes have been made in the children's book world and you are a part of it.

VBN: You’re right.

LAS: But peep it. Ezra Jack Keats was a white man? Why did he color in a character and profit from us?

VBN: It was 1963 and he got in trouble for it. Can you imagine? He told him because [the character] should have been there. Books are not just for White children and he lived in the hood.

LAS: Is that right?

VBN: Even after he got money, he never married and he lived in the hood and he painted. His muses were Brown children. Hispanic, African American children were his muses. This is why we have all of his books because he stayed in the neighborhood. These are the people that were on his heart.

 

LAS: I was doubly moved when you shared that you use to stutter (me too), and that you are dyslexic. So am I.

VBN: I understand. Being dyslexic. Reading for me sometimes can be a struggle. The words seem to dance on the page. Numbers seem to move and float around. I push myself constantly to read out loud, and while I make it look effortless and fun, it is a struggle for me still. I took “The Snowy Day” and sat on the floor of B&N and I read it through tears. Every wonderful and magnificent word.

LAS: I will not lie. I love words. I have notebooks filled with words and snatches of phrases that move my imagination. 

VBN: That’s nice. So … it began for you on a snowy day. What inspired you? You were challenged from the very beginning. It feels like that book opened those doors.

VBN: Words and pictures came together. I looked for books written and illustrated by [Ezra Jack] Keats, studying his work. I copied the man. I wanted to somehow do for other children what this awesome man had done for me.

LAS: That’s what’s up. So many people peacock the word “diversity” as if it’s exclusive to the Black and White experience. I think. Hey, have you ever seen a map of the world? What’s diversity to you, Ms. Vanessa?

VBN: (laughing) A great question.

LAS: Thank you.

VBN: (umm) I agree. It’s important that not only Black, White, Chinese or Indian children be seen in picture books, but that all children see themselves in picture books.

 

LAS: All children. I’m a "children". And why, all children?

VBN: (laughing) So they experience another culture so that their minds broaden.

LAS: Exactly because racism is taught. The power of good children books can be a valuable tool. I’m sorry. I am pulling out my proverbial soapbox and stomping with two feet. Please, continue.

VBN: Diversity is needed if we are going to grow as writers and illustrators. I like to call myself “The Multicultural Illustrator”. It is reflected in my work. I come from a very blended background—African American, Asian, European, and Jewish descent—it’s all in there. So if you are thinking that diversity is not important, take it from a little brown girl who was affected by someone’s beautiful pictures.

LAS: How many books do you have published, to date?

Keith Mozee believes in doing his best, regardless of the task, and that mindset paved the way for his journey from truck driver to general manager of StreetsLA, the Los Angeles city department formerly known as the Bureau of Street Services.

“I believe in doing things to the best of my ability – perseverance. Be willing to work harder than the next person. When you see something negative, respond with the positive. Do the right thing,” advocates Mozee, who has found great success by engaging these philosophies.

As executive director of one of L.A.’s most visible agencies, Mozee oversees the largest street network and urban forest in the nation. 

In addition, he manages the city services that residents and businesses request on a daily basis such as filling potholes, trimming trees and repairing sidewalks.

Acknowledging the vastness of his duties, Mozee said, “The amount and scope of work is tremendous. StreetsLA is responsible for 23,000 lanes, miles of streets, 800 miles of alleys, 700,000 trees in the urban forest and 9,000 miles of sidewalks.”

The agency, which is comprised of 1,100+ employees, also issues permits, directs the city’s sidewalk vending program, and protects the public right of way.

 

Basically, said Mozee, “We make people’s lives safe through the work that we do and we’re always looking for ways to improve how we work with communities.”

Improving relationships with community members falls in line with his desire to do his best, an attitude he’s demonstrated since joining StreetsLA in 1989 after applying at a job fair held at Audubon Middle School, which happened to be his alma mater.

A native of Los Angeles, Mozee grew up in the city’s Leimert Park area.  When he stopped by the job fair, then-Mayor Tom Bradley was there along with representatives of several city departments. So, Mozee applied and was hired as a light truck operator by the bureau.

“Coming up in the bureau, I worked in various positions. I went from truck operator, where I filled a lot of potholes, then to paving crews, and then to motor sweeping.

In time, I was able to promote and start running crews as a supervisor, superintendent and general superintendent,”  he recalled.

 

In addition, Mozee enrolled in college, completed several courses in street maintenance technology and earned a Bachelor’s degree in urban studies and planning from CSU – Northridge.  The education boosted his career options and helped him promote to upper level jobs.  In 2016, he was appointed assistant director where he served as StreetsLA’s chief operations officer.

At that point, “doing his best” had catapulted Mozee to oversee the bureau’s Street Renewal,  Engineering, Construction Services and Emergency Operations Divisions.  He also was assigned as the Racial Equity Officer and the COVID-19 Safety Officer.  With such extensive experience, it’s no surprise that Mayor Eric Garcetti nominated him as the StreetsLA general manager and the City Council confirmed Mozee for the job on July 1.

His goals for StreetsLA include approaching infrastructure with a non-traditional viewpoint.  As he explained, “In the future, as we go into neighborhoods and areas, we’re not just going to pave the street. We’re [also] going to fix the sidewalk, prepare an access ramp and plant trees.

“We’ll also look at mobility and bus shelters as part of the sidewalk transportation program and a year or two after that, we will review our sustainability efforts. Perhaps increase our tree planting and look at things like bio-diversity and natural wildlife in areas, which are really important to us to support.”

Workforce development is another area that Mozee will focus on. Employees will receive more information about available educational sessions along with college courses that result in certifications or degrees. Also, with an increasing number of women serving in the field, Mozee hopes it will lead to increased diversity in the management ranks.

“We have women who are engineers, architects, motor sweeping operators, part of concrete and paving crews, and working on pothole trucks.  Gender equity is very important to us too along with racial equity, making sure that people are treated equally and fairly,” he stressed.

“We want to be transparent about training opportunities, so employees can [take advantage of] upward mobility. We also want to diversify our middle management. Although we are diverse, we can do better as far as promoting people of color and women,” noted Mozee, who also serves as an adjunct professor at L.A. Trade-Technical College. 

StreetsLA aims to add staff to the bureau as well.  The agency is authorized to have 1,500 employees, so about 400 vacancies currently exist. 

The general manager plans to work with Targeted Local Hire, an alternate job pathway into city civil service jobs that recruits individuals from the vulnerable and underserved populations, and utilize other employment strategies to expand the workforce.

 

 

One advantage of working at StreetsLA is that many entry-level positions only require a high school diploma.

“You don’t need a college degree to start at StreetsLA, except for positions like an engineer or architect. When I started, I didn’t have a degree. I started in the labor force and worked up through management by obtaining my degree,” said the executive director, who added that some courses qualify for tuition reimbursement based on an employee’s union affiliation.

Other concerns will likely arise during Mozee’s tenure, but whatever the issue, putting forth his “best” to his staff and community members will be a guiding factor as he moves forward. In fact, Mozee invites the public to communicate with StreetsLA to help the agency “give its best to your neighborhood.”

 

“Anyone can call 311 to request services. If you feel the need to meet and talk with us, we will meet and talk with you,” he insisted.

“We believe in meeting with different stakeholders like neighborhood councils and block clubs. Reach out [to us]. Tell us what you need and the services that you want in your neighborhood.”

To learn more, visit streetsla.org or call 311 for a service request.

The debut album by Jason McGee and The Choir features a variety of music styles, but the thread connecting them all is a message of hope, joy and healing.

“Power,” the title of the new project by the popular gospel group, contains nine uplifting tracks ranging from the current hot single “It’s Not Over” to the creative rendition of Andre Crouch’s “Oh the Blood” to the hand-clapping, foot-stomping “Wonderful.”

“Our goal and our desire and our prayer was to give every single person in the world something to grab on to in this album,” said McGee, who is one of the leading choir directors in the gospel music industry. 

“This project was designed to reach the hearts of our listeners with hope.

After such a turbulent year, we’ve all shared common experiences that have brought us to a crossroad. We want to encourage people that they can find joy in believing again.”

Describing the different selections, he said, “The opening song has a bit of a country feel with acoustic guitars running through it, while other numbers are super-super churchy.

 

 

We also have songs for the more inspirational audience. So, we really wanted to make sure we worked hard to curate an album that everyone could enjoy.”

 

The versatility of the album is comparable to the many talents of Jason McGee and The Choir, who have backed rock bands, R&B artists and pop groups since arriving on the gospel scene about 17 years ago. 

 

 

 

Under McGee’s leadership, the ensemble has appeared on the Grammy’s, American Music Awards and the BET Awards as part of the event production team.

The group can also be heard on the “Space Jam 2” movie soundtrack as well as singing for the films, “The Black Godfather” and “Birth of a Nation.”

 “I’ve always been connected to choirs and churches. I started directing the choir at age 14 at my home church in Bakersfield, California and I started directing professionally in 2004, putting singers together and directing for a lot of mainstream events,” recalled McGee, a 2021 Stellar Award nominee.

He and the choir have performed live with several music icons including Madonna, Cyndi Lauper, John Legend, Raphael Saadiq and David Foster.  In the recording studio, they’ve collaborated with Usher, Lil Nas X, Erica Campbell of Mary Mary, Christian artist Matt Redman, and The Fray’s lead singer Joe King.

  

Currently, Jason McGee and The Choir are part of the My Block Inc. label, which is headed by mega-producer Warryn Campbell. 

 

And McGee said he appreciates the “family atmosphere” formed by Campbell and his wife, Erica.

“I’m able to pick up the phone at any given moment and call them and ask questions and they always answer the phone. They always check in and make sure I’m okay. 

It’s great and they give me the room to flex and be Jason,” he said.

 

 

 

While he’s excited about releasing “Power,” McGee said he will maintain his trust in God - no matter what the future may bring – by relying on his favorite scripture, Psalm 27:13 – “I would have fainted unless I had believed in the goodness of the Lord in the land of the living.” 

“I’ve been very open about my 2006 battle with suicide and it’s the scripture that got me through because somewhere deep inside of me – even when I was at my worst possible place – I never, ever stopped believing that there would be this moment when God answered what I had been praying for,” McGee said. 

 

“After the smoke had cleared and I was okay, I got that scripture tattooed on my arm so that every single time I’m down, I look down and say, ‘That’s right. I still believe.’”

 

 

Reflecting on the impact of “Power,” McGee insisted, “This is an exciting moment in our music journey. My hope is that the world will be strengthened by this album’s message. We can’t give up now because it’s not over. There’s hope, healing, and joy ahead.”

Follow Jason McGee and The Choir on all social media @iamjasonmcgee and @jmcgeechoir.