Tall Tee’s New Track Is Prime for Your Summer Barbecue Playlist
Berkeley Rap Icon Lyrics Born Now Has His Own Cooking Show
In Oakland, a Drag Fest for the Community, by the Community
Black Is the New Black in Fashion-Forward Films at MoAD
At the Black and Brown Comix Arts Festival, a Geeks’ and Sci-fi Lovers’ Family Reunion
In Asian Art Museum's Cyberpunk Exhibition, an Ancient Poet Navigates the Future
The End (of Adolescence) Is Near in ‘Armageddon Time’
From a Hurricane's Ruin, a Puerto Rico Community Grows—on Film
In ‘Comrade Sisters,’ Women of the Black Panther Party Take the Spotlight
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Two Filipino American DJs-turned-vocalists, Jon “Joog” Macapinlac and Alexander “Flex” Lim, lead the funky band, which has been igniting Bay Area dance floors since emerging from their DJ collective, Cheat Day. (The duo also has\u003c/span>\u003cspan style=\"font-weight: 400\"> \u003ca href=\"https://www.undiscoveredsf.com/blog/2019/10/17/living-room-sf-the-not-so-new-kids-on-the-block\">a panoply of individual creative efforts\u003c/a>, including a distribution of \u003ca href=\"https://www.kqed.org/arts/13923081/purity-wine-richmond-new-years-eve-party-inclusive-natural-winery\">natural wines\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13914042/smax-okonomiyaki-chopped-cheese-asian-american-pop-up-vallejo-san-francisco\">chopped cheese sandwiches\u003c/a>.)\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For the past few years, \u003ca href=\"https://tallteesound.bandcamp.com/\">the emergent group\u003c/a> has been gaining underground traction with their playful, up-tempo rhythms that twirl with a mixture of retro boogie and smooth, player vocals. Even though they have yet to release an album — one is scheduled for later this year — Tall Tee’s niche following has patiently anticipated their full-length debut since the two homies first recorded a track together at San Francisco State University in 2018.\u003c/span>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=XiglhPxeQzs\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">On April 10, they’re delivering the musical goods. The pair will host a watch party for “So Fly” — their first official single off Tall Tee’s upcoming album, which is also the first song they ever recorded together at SFSU.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Instead of just releasing the video online, we wanted to make it more communal,” says Flex. “This is really a thank you to those who have pushed us over the years. We wanted to extend that sentiment in person to everyone who has been involved with us.”\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The premiere will take place at \u003ca href=\"https://www.instagram.com/thisisbabas.house/?hl=en\">Baba’s House\u003c/a> — a quirky, neon-lit Asian snack shop ensconced on the second story of a historic building in downtown Oakland. In a time of digitized streaming and online clout chasing, it’s always refreshing to see any genuine efforts to build community and have fun IRL. [aside postid='arts_13955372']\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The track is — as the name suggests — about being fly. More importantly, it’s an ode to the sweat and grind that goes into remaining fly in the Bay Area, a place that is notoriously vibrant but expensive as hell for artists to thrive in. Flex, a lifelong San Franciscan, and Joog, a Vallejo kid, are simply trying to sustain the good vibes that they were able to simmer in during the hyphy movement, when tall tees could be copped at any Bay Area liquor store worth its malt. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“There’s effort and hustle to look fly,” Flex says. “We wanted to be the antithesis of a tuxedo, and what’s more opposite than a tall tee?”\u003c/span>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.instagram.com/tallteesound/\">Tall Tee\u003c/a> premiere their debut music video in person at \u003ca href=\"https://www.instagram.com/thisisbabas.house/?hl=en\">Baba’s House\u003c/a> (410 15th St, Oakland) on April 10 at 8:30 p.m. The event includes a photo booth by Good Mother Gallery and DJ set by Jon Reyes. Tall Tee’s ‘So Fly’ video will be available to watch online on April 15.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"The funky duo premieres their ‘So Fly’ music video at Oakland’s Asian American snack shop, Baba’s House.","status":"publish","parent":0,"modified":1712350821,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":10,"wordCount":517},"headData":{"title":"Tall Tee’s New Track Is Prime for Your Summer Barbecue Playlist | KQED","description":"The funky duo premieres their ‘So Fly’ music video at Oakland’s Asian American snack shop, Baba’s House.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"source":"The Do List","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13955444/tall-tee-so-fly-video-release-oakland","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">If you like to two-step shuffle with a red cup in your hand, then \u003ca href=\"https://www.instagram.com/tallteesound/\">Tall Tee\u003c/a> might be the next addition to your spring barbecue playlist. Two Filipino American DJs-turned-vocalists, Jon “Joog” Macapinlac and Alexander “Flex” Lim, lead the funky band, which has been igniting Bay Area dance floors since emerging from their DJ collective, Cheat Day. (The duo also has\u003c/span>\u003cspan style=\"font-weight: 400\"> \u003ca href=\"https://www.undiscoveredsf.com/blog/2019/10/17/living-room-sf-the-not-so-new-kids-on-the-block\">a panoply of individual creative efforts\u003c/a>, including a distribution of \u003ca href=\"https://www.kqed.org/arts/13923081/purity-wine-richmond-new-years-eve-party-inclusive-natural-winery\">natural wines\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13914042/smax-okonomiyaki-chopped-cheese-asian-american-pop-up-vallejo-san-francisco\">chopped cheese sandwiches\u003c/a>.)\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For the past few years, \u003ca href=\"https://tallteesound.bandcamp.com/\">the emergent group\u003c/a> has been gaining underground traction with their playful, up-tempo rhythms that twirl with a mixture of retro boogie and smooth, player vocals. Even though they have yet to release an album — one is scheduled for later this year — Tall Tee’s niche following has patiently anticipated their full-length debut since the two homies first recorded a track together at San Francisco State University in 2018.\u003c/span>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/XiglhPxeQzs'\n title='//www.youtube.com/embed/XiglhPxeQzs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">On April 10, they’re delivering the musical goods. The pair will host a watch party for “So Fly” — their first official single off Tall Tee’s upcoming album, which is also the first song they ever recorded together at SFSU.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Instead of just releasing the video online, we wanted to make it more communal,” says Flex. “This is really a thank you to those who have pushed us over the years. We wanted to extend that sentiment in person to everyone who has been involved with us.”\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The premiere will take place at \u003ca href=\"https://www.instagram.com/thisisbabas.house/?hl=en\">Baba’s House\u003c/a> — a quirky, neon-lit Asian snack shop ensconced on the second story of a historic building in downtown Oakland. In a time of digitized streaming and online clout chasing, it’s always refreshing to see any genuine efforts to build community and have fun IRL. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13955372","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The track is — as the name suggests — about being fly. More importantly, it’s an ode to the sweat and grind that goes into remaining fly in the Bay Area, a place that is notoriously vibrant but expensive as hell for artists to thrive in. Flex, a lifelong San Franciscan, and Joog, a Vallejo kid, are simply trying to sustain the good vibes that they were able to simmer in during the hyphy movement, when tall tees could be copped at any Bay Area liquor store worth its malt. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“There’s effort and hustle to look fly,” Flex says. “We wanted to be the antithesis of a tuxedo, and what’s more opposite than a tall tee?”\u003c/span>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.instagram.com/tallteesound/\">Tall Tee\u003c/a> premiere their debut music video in person at \u003ca href=\"https://www.instagram.com/thisisbabas.house/?hl=en\">Baba’s House\u003c/a> (410 15th St, Oakland) on April 10 at 8:30 p.m. The event includes a photo booth by Good Mother Gallery and DJ set by Jon Reyes. Tall Tee’s ‘So Fly’ video will be available to watch online on April 15.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13955444/tall-tee-so-fly-video-release-oakland","authors":["11748"],"programs":["arts_140"],"categories":["arts_1"],"tags":["arts_4672","arts_4435","arts_1720","arts_1143","arts_1334"],"featImg":"arts_13955445","label":"source_arts_13955444"},"arts_13934248":{"type":"posts","id":"arts_13934248","meta":{"index":"posts_1591205157","site":"arts","id":"13934248","score":null,"sort":[1694102756000]},"guestAuthors":[],"slug":"lyrics-born-cooking-show-dinner-in-place-berkeley-hella-hungry","title":"Berkeley Rap Icon Lyrics Born Now Has His Own Cooking Show","publishDate":1694102756,"format":"standard","headTitle":"Berkeley Rap Icon Lyrics Born Now Has His Own Cooking Show | KQED","labelTerm":{},"content":"\u003cp>\u003cstrong>\u003ci>¡Hella Hungry! is a column about Bay Area foodmakers, exploring the region’s culinary cultures through the mouth of a first-generation local.\u003c/i>\u003c/strong>\u003c/p>\n\u003cp>Saul’s Deli, a bustling Jewish delicatessen serving North Berkeley since 1986, isn’t where you’d expect to kick it with a rap legend. But it’s where Tsutomu Shimura — better known as Lyrics Born, the pioneering Japanese and Jewish American rapper — chose to meet me for lunch on a calm, sunny Wednesday.\u003c/p>\n\u003cp>Shimura is a certified hip-hop veteran. As a founding member of the Bay Area rap group \u003ca href=\"https://www.kqed.org/arts/13929861/latyrx-lateef-lyrics-born-solesides-quannum\">Latryx\u003c/a>, he was one of the first Asian American emcees to gain national fame in the early ’90s. His career stretches across decades with an impressive longevity that only \u003ca href=\"https://www.kqed.org/arts/13932488/e-40-way-magazine-street-renamed-vallejo\">E-40\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13922548/too-short-way-oakland-street-renamed\">Too $hort\u003c/a> could scoff at. Shimura was the first Asian American rapper to release more than 10 studio albums. He’s so prolific that on the day of our hangout, he also released a song, “\u003ca href=\"https://www.youtube.com/watch?v=eb9epoQCnuA\">Heaven and Armageddon\u003c/a>.”\u003c/p>\n\u003cp>And still, Shimura makes room for his latest creative appetite: food.\u003c/p>\n\u003cfigure id=\"attachment_13934217\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13934217 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-LRYICS-BORN-MD-10-KQED.jpg\" alt=\"A bagel with pastrami and a green sauce.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-LRYICS-BORN-MD-10-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-LRYICS-BORN-MD-10-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-LRYICS-BORN-MD-10-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-LRYICS-BORN-MD-10-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-LRYICS-BORN-MD-10-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-LRYICS-BORN-MD-10-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-LRYICS-BORN-MD-10-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The author’s’s salami egg bagel with added pastrami. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I like to try new things when I’m cooking, just like I would in a song,” he tells me while enjoying an order of trout, eggs and onions with extra pastrami. “It’s creative, there’s no rules. And you’ll probably like what I make, even if you’ve never heard of it before.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/watch?v=QjCJDQP1p-o\">Having appeared on KQED’s \u003ci>Check, Please! Bay Area\u003c/i>\u003c/a>, he’s no stranger to the culinary game. The saucy wordsmith has never been afraid of being front and center, either. So it makes sense that the deep-voiced lyricist and diehard foodie — who grew up in Berkeley with an appreciation for the Bay’s culturally diverse cuisines — now has his own online food series, \u003ca href=\"https://www.youtube.com/playlist?list=PLuFEwujFCNdkNoLfIIOKOwYb1bHpR0v_g\">\u003ci>Dinner In Place\u003c/i>\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=SK2yFPkrwhs\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>The show was born in the pandemic when Shimura was unable to tour internationally as frequently as he was accustomed to. A simple Instagram post of him making pasta with clams blew up, and requests from friends, family and fans flooded his inbox: \u003ci>When’s the next one?\u003c/i>\u003c/p>\n\u003cp>Shimura admits he was simply sharing his cooking out of boredom. But he quickly discovered that while on a path to dieting and home cooking in his spare time, he could share his journey with others.\u003c/p>\n\u003cp>Now, \u003ci>Dinner In Place \u003c/i>is entering its fourth season. The show focuses on multiculturalism and culinary innovation with a range of guests — including Señor Sisig chef Gil Payumo and \u003ca href=\"https://www.kqed.org/bayareabites/136410/sobre-mesa-brings-afro-caribbean-cocktails-and-light-bites-to-oakland\">Sobre Mesa\u003c/a> chef Nelson German — tied together by Shimura’s trademark baritone narration.\u003c/p>\n\u003cp>Over a plate of open-faced salami egg bagels (with extra pastrami, following Shimura’s lead), I tuned in to the hip-hop icon as he reflected on his love of food, music and wellness as a nourishing therapy.\u003c/p>\n\u003cp>\u003ci>This interview has been edited for length and clarity.\u003c/i>\u003c/p>\n\u003cp style=\"text-align: center\">********\u003c/p>\n\u003cp>\u003cb>Alan Chazaro: Many of us know you for your music career. But now you’re doing \u003c/b>\u003cb>\u003ci>Dinner In Place\u003c/i>\u003c/b>\u003cb>. How did your journey into making food videos begin?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Lyrics Born:\u003c/b> During the pandemic, I had nothing but time on my hands. Prior to that, to be honest, I was feeling pretty burnt out artistically. Up to 2019, I was doing at least 100 [tour] dates a year. I was exhausted, bro. Putting out albums every 18 months for 20 years straight. I didn’t realize how tired I truly was. When everything shut down I was like wait a minute. No flight? No studio sessions? No gig? I’m sleeping in my own bed for more than a week? I love this. My lifestyle was such that six months prior to lockdown I was having health issues. Soreness, coughing. Shit like that. But then I started having anxiety.\u003c/p>\n\u003cfigure id=\"attachment_13934210\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13934210 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-LRYICS-BORN-MD-01-KQED.jpg\" alt=\"The facade of a restaurant painted bright red.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-LRYICS-BORN-MD-01-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-LRYICS-BORN-MD-01-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-LRYICS-BORN-MD-01-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-LRYICS-BORN-MD-01-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-LRYICS-BORN-MD-01-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-LRYICS-BORN-MD-01-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-LRYICS-BORN-MD-01-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Saul’s has been a Berkeley institution since 1986. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So a few months before lockdown, I started to change my diet and exercise. I was up to 225 pounds, and I couldn’t do what I used to on stage, and that was upsetting. I literally couldn’t perform like I used to. So one of the best things I could’ve done was just drop some weight. I started to eat differently and exercise more, and so sliding into quarantine I had some momentum and control over my life. I was at home and started cooking more, since I had been eating out and on the go for years. Because of my health journey, I started to do plant-based stuff. I like to use social media, so I just shot the shit. No editing, just narrating as I went in real time. Everyone was at home also, and it was just a hit. I wasn’t writing anything else, and I didn’t want to do anything with music, so it gave me a new creative outlet instantly.\u003c/p>\n\u003cp>As time went on I started throwing in things from my childhood and travels, and it became weekly. It was cultural, and it was also conceptual like music. Like, wouldn’t it be cool if we took some vegan ground beef and turned it into a kung pao and then made that into a sloppy joe in between two Taiwanese pancakes and just called that a Kung Pao Sloppy Joe? You know what I mean?\u003c/p>\n\u003cfigure id=\"attachment_13934216\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13934216 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-LRYICS-BORN-MD-09-KQED.jpg\" alt=\"A plate with homefries and other food on it.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-LRYICS-BORN-MD-09-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-LRYICS-BORN-MD-09-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-LRYICS-BORN-MD-09-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-LRYICS-BORN-MD-09-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-LRYICS-BORN-MD-09-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-LRYICS-BORN-MD-09-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-LRYICS-BORN-MD-09-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Lyrics Born’s plate of trout, eggs and onion. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>That’s definitely a rapper’s creative mind at work, just remixing hella ingredients.\u003c/b>\u003c/p>\n\u003cp>That’s all it was. I had time and headspace, and there was nothing else competing with my creativity. It was fun.\u003c/p>\n\u003cp>\u003cb>Bay Area hip-hop has so many anthems — “I Got 5 On It,” “Tell Me When to Go,” “Thizzle Dance.” You put those songs on and Bay Area people will flock to the dance floor and know exactly what to do. What’s the equivalent of that for our region’s food?\u003c/b>\u003c/p>\n\u003cp>There are a few restaurants in Berkeley. That’s what I know, so I’ll speak to that. Everett and Jones is one of them. They’ve been around since I was a kid in multiple locations. The one in Berkeley is the best, truth be told. People will have varying opinions on it all, but I also think Le Cheval — a longtime Vietnamese restaurant in Berkeley that unfortunately closed, where many people would go. Chez Panisse, of course.\u003c/p>\n\u003cp>And in Oakland, you have guys like Chef Nelson from Sobre Mesa. He just reopened \u003ca href=\"https://www.instagram.com/alamaroakland/\">alaMar\u003c/a> with a new Dominican menu. The Bay needs that. Oakland is special because it has that diversity. There’s room, space and audience for it.\u003c/p>\n\u003cp>\u003cb>I noticed you’ve invited local chefs — like Chef Nelson — onto your show this season. What have been some favorite dishes you’ve learned how to make?\u003c/b>\u003c/p>\n\u003cp>We actually released one today that I really love. A “Locrio Japonese.” Japanese curry, stir-fried rice, grilled pork. Dominican and Japanese fusion.\u003c/p>\n\u003cfigure id=\"attachment_13934214\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13934214 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-LRYICS-BORN-MD-06-KQED.jpg\" alt=\"A person cuts a pickle with a fork and knife.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-LRYICS-BORN-MD-06-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-LRYICS-BORN-MD-06-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-LRYICS-BORN-MD-06-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-LRYICS-BORN-MD-06-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-LRYICS-BORN-MD-06-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-LRYICS-BORN-MD-06-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-LRYICS-BORN-MD-06-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Pickled beets and cucumbers. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Are these all your original food ideas? Are they just for your private consumption?\u003c/b>\u003c/p>\n\u003cp>We talk about it, bro. With every guest chef — I’ve even had my wife on for an episode — we talk about it, and if we have time, we demo it. I was able to demo the recipes at Señor Sisig and alaMar. Really generous, brilliant chefs. We’re actually doing a pop-up in alaMar, and we’ll be serving the actual dish. It was fun and cute during the pandemic, but I wanted to do more with it.\u003c/p>\n\u003cp>\u003cb>Now that you’re three decades into your career, having broken barriers like becoming the first Asian American rapper to perform at events like Coachella and Lollapalooza, what stands out to you — and how does food play into it all?\u003c/b>\u003c/p>\n\u003cp>The first couple decades of my career I never reflected. I never looked back, I was thinking about what’s next. It wasn’t until I made my greatest hits album that I was forced to reflect. Doing \u003cem>Dinner in Place\u003c/em> and cooking has really led me down a path that I just totally took for granted. I didn’t realize how special it was to make sushi with my father who I saw maybe once a year. And when I saw him, I was young at the time, and we’d make sushi together, or maybe go out for Korean barbecue in Japan. He spent some time in New York City, but he had health issues and went back to Japan. The last 15 years of his life were in Japan, and I’d go back when I could. Even though he was immobile, we still cooked. It was something I did with him.\u003c/p>\n\u003cp>But when I got back, my son asked if I could roll sushi, and I was like fuck yeah, I can. Because I did it with my father. Let me start there. It opened up chapters in my life I could revisit. I didn’t consider that to be significant until later. Same with my grandma. She would take me to Jewish delis in L.A. with that side of the family. I grew up in places like Saul’s. \u003ci>Let’s deli.\u003c/i> That’s a Jewish thing.\u003c/p>\n\u003cp>\u003cb>And you did it all while staying true to yourself and highlighting your heritage.\u003c/b>\u003c/p>\n\u003cp>Thank you. Rappers? Entertainers? There weren’t many who looked like me who were visible. We had a few here and there. And there were people before me, for sure. But \u003ca href=\"https://www.kqed.org/arts/13933283/undiscovered-sf-2023-filipino-culture-festival-food-hip-hop-anniversary-soma\">it was mostly DJs and breakdancers\u003c/a>. We were mostly in the background. But there was nobody — since hip-hop was so young — who I could look to in the way someone can look at me now and say, \u003ci>So that’s how you do it\u003c/i>. To have a 30-year career as an Asian American rapper in hip-hop and to see that path as possible.[pullquote size=\"large\" align=\"right\" citation=\"Lyrics Born\"]“In my experience, being mixed is normal. Everything else is different.”[/pullquote]\u003c/p>\n\u003cp>Those lessons exist now, but they didn’t really exist for me. I mean, hip-hop is turning 50 years old. I’ve been around for 30 of those. I took a lot of my cues from studying my peers, but also the previous generation of artists outside of hip-hop. Sammy Davis Jr. James Brown. Those were long careers. There’s a multitude of mountains you have to simultaneously climb. It’s hard for anyone.\u003c/p>\n\u003cp>The other layer is doing it as a person of color in a system that isn’t built for you to succeed. You’re fighting parallel battles. Then being Asian American, there was even less context as a performer. When I first started touring, I swear to god there were places where I was the only Asian American in the city. But it still sold out. It was about the music. And that’s why food is also so liberating. In my experience, being mixed is normal. Everything else is different.\u003c/p>\n\u003cp>\u003cb>That’s part of the beauty of growing up in the Bay Area, right?\u003c/b>\u003c/p>\n\u003cp>I don’t think my career could have been possible anywhere outside of the Bay Area. My reality has always been multicultural. And that’s even more so now. Everyone I grew up with in Berkeley is mixed.\u003c/p>\n\u003cfigure id=\"attachment_13934213\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13934213 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-LRYICS-BORN-MD-05-KQED.jpg\" alt=\"Two people laugh together at a booth in a restaurant.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-LRYICS-BORN-MD-05-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-LRYICS-BORN-MD-05-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-LRYICS-BORN-MD-05-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-LRYICS-BORN-MD-05-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-LRYICS-BORN-MD-05-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-LRYICS-BORN-MD-05-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-LRYICS-BORN-MD-05-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Lyrics Born sharing a meal — and reflections on his 30-year career in hip-hop — with KQED food writer Alan Chazaro. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>And you can just hustle your way into different situations and make it work.\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13929861,arts_13930458,arts_13907726']\u003c/span>Bro, I never went to any culinary school. But I’m creative. And the food tastes good. I don’t give a shit about technique. About what is the way you’re supposed to do it. Just taste it. You’ll love it. You don’t need a chef’s coat. Whatever you wear isn’t gonna change the way you cook. I didn’t come from that. Yes, some of these guys can cook circles around me. But I’m a self-taught rapper. I didn’t take piano lessons or guitar lessons. I had a pen and paper and started writing down some words and hoped they rhymed to their own beat.\u003c/p>\n\u003cp>And real chefs understand that. They get the raw creativity, and that’s what it all is for me. The \u003ca href=\"https://www.youtube.com/watch?v=ko2k6RC4MCc\">sinigang ramen\u003c/a>. Nobody’s doing that or presenting it in the way we do. And I say that with pride, not to brag. We’re injecting something new into this. You’ll walk away feeling better, having learned something. And that’s important to me about the show. We wanna make great food, but what’s greater than expanding your horizons on different levels?\u003c/p>\n\u003cp>\u003cb>Is that part of growing up with immigrant parents? \u003c/b>\u003c/p>\n\u003cp>Totally. And the best part is that our experience [as children of immigrants] is mathematically going to be the dominant experience in this country. We’ll see more people like us — literally and figuratively. That’s not an opinion. That’s facts. It’s trending in a certain direction, and nothing can stop that. And we’ll be enjoying those flavors for a long time.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/playlist?list=PLuFEwujFCNdkNoLfIIOKOwYb1bHpR0v_g\">\u003cem>‘Dinner In Place’\u003c/em>\u003ci> is available to watch on YouTube on Lyrics Born’s channel\u003c/i>\u003c/a>\u003ci>. Season 4 is now streaming. \u003c/i>\u003ca href=\"https://www.instagram.com/lyricsborn/\">\u003ci>Lyrics Born\u003c/i>\u003c/a>\u003ci> will team up with chef Nelson German at \u003c/i>\u003ca href=\"https://www.instagram.com/alamaroakland/\">\u003ci>alaMar Dominican Kitchen\u003c/i>\u003c/a>\u003ci> (100 Grand Ave. #111, Oakland) for a live “Dinner In Place” pop-up on Thurs. Sep. 14 from 5 p.m. to closing.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"A sit-down interview with the hip-hop veteran and host of 'Dinner In Place,' a food series with extra funk.","status":"publish","parent":0,"modified":1705005057,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":42,"wordCount":2414},"headData":{"title":"Berkeley Rap Icon Lyrics Born Now Has His Own Cooking Show | KQED","description":"A sit-down interview with the hip-hop veteran and host of 'Dinner In Place,' a food series with extra funk.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"source":"¡Hella Hungry!","sourceUrl":"https://www.kqed.org/arts/tag/hella-hungry","sticky":false,"excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13934248/lyrics-born-cooking-show-dinner-in-place-berkeley-hella-hungry","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>\u003ci>¡Hella Hungry! is a column about Bay Area foodmakers, exploring the region’s culinary cultures through the mouth of a first-generation local.\u003c/i>\u003c/strong>\u003c/p>\n\u003cp>Saul’s Deli, a bustling Jewish delicatessen serving North Berkeley since 1986, isn’t where you’d expect to kick it with a rap legend. But it’s where Tsutomu Shimura — better known as Lyrics Born, the pioneering Japanese and Jewish American rapper — chose to meet me for lunch on a calm, sunny Wednesday.\u003c/p>\n\u003cp>Shimura is a certified hip-hop veteran. As a founding member of the Bay Area rap group \u003ca href=\"https://www.kqed.org/arts/13929861/latyrx-lateef-lyrics-born-solesides-quannum\">Latryx\u003c/a>, he was one of the first Asian American emcees to gain national fame in the early ’90s. His career stretches across decades with an impressive longevity that only \u003ca href=\"https://www.kqed.org/arts/13932488/e-40-way-magazine-street-renamed-vallejo\">E-40\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13922548/too-short-way-oakland-street-renamed\">Too $hort\u003c/a> could scoff at. Shimura was the first Asian American rapper to release more than 10 studio albums. He’s so prolific that on the day of our hangout, he also released a song, “\u003ca href=\"https://www.youtube.com/watch?v=eb9epoQCnuA\">Heaven and Armageddon\u003c/a>.”\u003c/p>\n\u003cp>And still, Shimura makes room for his latest creative appetite: food.\u003c/p>\n\u003cfigure id=\"attachment_13934217\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13934217 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-LRYICS-BORN-MD-10-KQED.jpg\" alt=\"A bagel with pastrami and a green sauce.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-LRYICS-BORN-MD-10-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-LRYICS-BORN-MD-10-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-LRYICS-BORN-MD-10-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-LRYICS-BORN-MD-10-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-LRYICS-BORN-MD-10-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-LRYICS-BORN-MD-10-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-LRYICS-BORN-MD-10-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The author’s’s salami egg bagel with added pastrami. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I like to try new things when I’m cooking, just like I would in a song,” he tells me while enjoying an order of trout, eggs and onions with extra pastrami. “It’s creative, there’s no rules. And you’ll probably like what I make, even if you’ve never heard of it before.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/watch?v=QjCJDQP1p-o\">Having appeared on KQED’s \u003ci>Check, Please! Bay Area\u003c/i>\u003c/a>, he’s no stranger to the culinary game. The saucy wordsmith has never been afraid of being front and center, either. So it makes sense that the deep-voiced lyricist and diehard foodie — who grew up in Berkeley with an appreciation for the Bay’s culturally diverse cuisines — now has his own online food series, \u003ca href=\"https://www.youtube.com/playlist?list=PLuFEwujFCNdkNoLfIIOKOwYb1bHpR0v_g\">\u003ci>Dinner In Place\u003c/i>\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/SK2yFPkrwhs'\n title='//www.youtube.com/embed/SK2yFPkrwhs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp> \u003c/p>\n\u003cp>The show was born in the pandemic when Shimura was unable to tour internationally as frequently as he was accustomed to. A simple Instagram post of him making pasta with clams blew up, and requests from friends, family and fans flooded his inbox: \u003ci>When’s the next one?\u003c/i>\u003c/p>\n\u003cp>Shimura admits he was simply sharing his cooking out of boredom. But he quickly discovered that while on a path to dieting and home cooking in his spare time, he could share his journey with others.\u003c/p>\n\u003cp>Now, \u003ci>Dinner In Place \u003c/i>is entering its fourth season. The show focuses on multiculturalism and culinary innovation with a range of guests — including Señor Sisig chef Gil Payumo and \u003ca href=\"https://www.kqed.org/bayareabites/136410/sobre-mesa-brings-afro-caribbean-cocktails-and-light-bites-to-oakland\">Sobre Mesa\u003c/a> chef Nelson German — tied together by Shimura’s trademark baritone narration.\u003c/p>\n\u003cp>Over a plate of open-faced salami egg bagels (with extra pastrami, following Shimura’s lead), I tuned in to the hip-hop icon as he reflected on his love of food, music and wellness as a nourishing therapy.\u003c/p>\n\u003cp>\u003ci>This interview has been edited for length and clarity.\u003c/i>\u003c/p>\n\u003cp style=\"text-align: center\">********\u003c/p>\n\u003cp>\u003cb>Alan Chazaro: Many of us know you for your music career. But now you’re doing \u003c/b>\u003cb>\u003ci>Dinner In Place\u003c/i>\u003c/b>\u003cb>. How did your journey into making food videos begin?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Lyrics Born:\u003c/b> During the pandemic, I had nothing but time on my hands. Prior to that, to be honest, I was feeling pretty burnt out artistically. Up to 2019, I was doing at least 100 [tour] dates a year. I was exhausted, bro. Putting out albums every 18 months for 20 years straight. I didn’t realize how tired I truly was. When everything shut down I was like wait a minute. No flight? No studio sessions? No gig? I’m sleeping in my own bed for more than a week? I love this. My lifestyle was such that six months prior to lockdown I was having health issues. Soreness, coughing. Shit like that. But then I started having anxiety.\u003c/p>\n\u003cfigure id=\"attachment_13934210\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13934210 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-LRYICS-BORN-MD-01-KQED.jpg\" alt=\"The facade of a restaurant painted bright red.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-LRYICS-BORN-MD-01-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-LRYICS-BORN-MD-01-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-LRYICS-BORN-MD-01-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-LRYICS-BORN-MD-01-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-LRYICS-BORN-MD-01-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-LRYICS-BORN-MD-01-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-LRYICS-BORN-MD-01-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Saul’s has been a Berkeley institution since 1986. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So a few months before lockdown, I started to change my diet and exercise. I was up to 225 pounds, and I couldn’t do what I used to on stage, and that was upsetting. I literally couldn’t perform like I used to. So one of the best things I could’ve done was just drop some weight. I started to eat differently and exercise more, and so sliding into quarantine I had some momentum and control over my life. I was at home and started cooking more, since I had been eating out and on the go for years. Because of my health journey, I started to do plant-based stuff. I like to use social media, so I just shot the shit. No editing, just narrating as I went in real time. Everyone was at home also, and it was just a hit. I wasn’t writing anything else, and I didn’t want to do anything with music, so it gave me a new creative outlet instantly.\u003c/p>\n\u003cp>As time went on I started throwing in things from my childhood and travels, and it became weekly. It was cultural, and it was also conceptual like music. Like, wouldn’t it be cool if we took some vegan ground beef and turned it into a kung pao and then made that into a sloppy joe in between two Taiwanese pancakes and just called that a Kung Pao Sloppy Joe? You know what I mean?\u003c/p>\n\u003cfigure id=\"attachment_13934216\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13934216 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-LRYICS-BORN-MD-09-KQED.jpg\" alt=\"A plate with homefries and other food on it.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-LRYICS-BORN-MD-09-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-LRYICS-BORN-MD-09-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-LRYICS-BORN-MD-09-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-LRYICS-BORN-MD-09-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-LRYICS-BORN-MD-09-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-LRYICS-BORN-MD-09-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-LRYICS-BORN-MD-09-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Lyrics Born’s plate of trout, eggs and onion. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>That’s definitely a rapper’s creative mind at work, just remixing hella ingredients.\u003c/b>\u003c/p>\n\u003cp>That’s all it was. I had time and headspace, and there was nothing else competing with my creativity. It was fun.\u003c/p>\n\u003cp>\u003cb>Bay Area hip-hop has so many anthems — “I Got 5 On It,” “Tell Me When to Go,” “Thizzle Dance.” You put those songs on and Bay Area people will flock to the dance floor and know exactly what to do. What’s the equivalent of that for our region’s food?\u003c/b>\u003c/p>\n\u003cp>There are a few restaurants in Berkeley. That’s what I know, so I’ll speak to that. Everett and Jones is one of them. They’ve been around since I was a kid in multiple locations. The one in Berkeley is the best, truth be told. People will have varying opinions on it all, but I also think Le Cheval — a longtime Vietnamese restaurant in Berkeley that unfortunately closed, where many people would go. Chez Panisse, of course.\u003c/p>\n\u003cp>And in Oakland, you have guys like Chef Nelson from Sobre Mesa. He just reopened \u003ca href=\"https://www.instagram.com/alamaroakland/\">alaMar\u003c/a> with a new Dominican menu. The Bay needs that. Oakland is special because it has that diversity. There’s room, space and audience for it.\u003c/p>\n\u003cp>\u003cb>I noticed you’ve invited local chefs — like Chef Nelson — onto your show this season. What have been some favorite dishes you’ve learned how to make?\u003c/b>\u003c/p>\n\u003cp>We actually released one today that I really love. A “Locrio Japonese.” Japanese curry, stir-fried rice, grilled pork. Dominican and Japanese fusion.\u003c/p>\n\u003cfigure id=\"attachment_13934214\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13934214 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-LRYICS-BORN-MD-06-KQED.jpg\" alt=\"A person cuts a pickle with a fork and knife.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-LRYICS-BORN-MD-06-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-LRYICS-BORN-MD-06-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-LRYICS-BORN-MD-06-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-LRYICS-BORN-MD-06-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-LRYICS-BORN-MD-06-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-LRYICS-BORN-MD-06-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-LRYICS-BORN-MD-06-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Pickled beets and cucumbers. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Are these all your original food ideas? Are they just for your private consumption?\u003c/b>\u003c/p>\n\u003cp>We talk about it, bro. With every guest chef — I’ve even had my wife on for an episode — we talk about it, and if we have time, we demo it. I was able to demo the recipes at Señor Sisig and alaMar. Really generous, brilliant chefs. We’re actually doing a pop-up in alaMar, and we’ll be serving the actual dish. It was fun and cute during the pandemic, but I wanted to do more with it.\u003c/p>\n\u003cp>\u003cb>Now that you’re three decades into your career, having broken barriers like becoming the first Asian American rapper to perform at events like Coachella and Lollapalooza, what stands out to you — and how does food play into it all?\u003c/b>\u003c/p>\n\u003cp>The first couple decades of my career I never reflected. I never looked back, I was thinking about what’s next. It wasn’t until I made my greatest hits album that I was forced to reflect. Doing \u003cem>Dinner in Place\u003c/em> and cooking has really led me down a path that I just totally took for granted. I didn’t realize how special it was to make sushi with my father who I saw maybe once a year. And when I saw him, I was young at the time, and we’d make sushi together, or maybe go out for Korean barbecue in Japan. He spent some time in New York City, but he had health issues and went back to Japan. The last 15 years of his life were in Japan, and I’d go back when I could. Even though he was immobile, we still cooked. It was something I did with him.\u003c/p>\n\u003cp>But when I got back, my son asked if I could roll sushi, and I was like fuck yeah, I can. Because I did it with my father. Let me start there. It opened up chapters in my life I could revisit. I didn’t consider that to be significant until later. Same with my grandma. She would take me to Jewish delis in L.A. with that side of the family. I grew up in places like Saul’s. \u003ci>Let’s deli.\u003c/i> That’s a Jewish thing.\u003c/p>\n\u003cp>\u003cb>And you did it all while staying true to yourself and highlighting your heritage.\u003c/b>\u003c/p>\n\u003cp>Thank you. Rappers? Entertainers? There weren’t many who looked like me who were visible. We had a few here and there. And there were people before me, for sure. But \u003ca href=\"https://www.kqed.org/arts/13933283/undiscovered-sf-2023-filipino-culture-festival-food-hip-hop-anniversary-soma\">it was mostly DJs and breakdancers\u003c/a>. We were mostly in the background. But there was nobody — since hip-hop was so young — who I could look to in the way someone can look at me now and say, \u003ci>So that’s how you do it\u003c/i>. To have a 30-year career as an Asian American rapper in hip-hop and to see that path as possible.\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"“In my experience, being mixed is normal. Everything else is different.”","name":"pullquote","attributes":{"named":{"size":"large","align":"right","citation":"Lyrics Born","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Those lessons exist now, but they didn’t really exist for me. I mean, hip-hop is turning 50 years old. I’ve been around for 30 of those. I took a lot of my cues from studying my peers, but also the previous generation of artists outside of hip-hop. Sammy Davis Jr. James Brown. Those were long careers. There’s a multitude of mountains you have to simultaneously climb. It’s hard for anyone.\u003c/p>\n\u003cp>The other layer is doing it as a person of color in a system that isn’t built for you to succeed. You’re fighting parallel battles. Then being Asian American, there was even less context as a performer. When I first started touring, I swear to god there were places where I was the only Asian American in the city. But it still sold out. It was about the music. And that’s why food is also so liberating. In my experience, being mixed is normal. Everything else is different.\u003c/p>\n\u003cp>\u003cb>That’s part of the beauty of growing up in the Bay Area, right?\u003c/b>\u003c/p>\n\u003cp>I don’t think my career could have been possible anywhere outside of the Bay Area. My reality has always been multicultural. And that’s even more so now. Everyone I grew up with in Berkeley is mixed.\u003c/p>\n\u003cfigure id=\"attachment_13934213\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13934213 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-LRYICS-BORN-MD-05-KQED.jpg\" alt=\"Two people laugh together at a booth in a restaurant.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-LRYICS-BORN-MD-05-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-LRYICS-BORN-MD-05-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-LRYICS-BORN-MD-05-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-LRYICS-BORN-MD-05-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-LRYICS-BORN-MD-05-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-LRYICS-BORN-MD-05-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-LRYICS-BORN-MD-05-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Lyrics Born sharing a meal — and reflections on his 30-year career in hip-hop — with KQED food writer Alan Chazaro. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>And you can just hustle your way into different situations and make it work.\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13929861,arts_13930458,arts_13907726","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/span>Bro, I never went to any culinary school. But I’m creative. And the food tastes good. I don’t give a shit about technique. About what is the way you’re supposed to do it. Just taste it. You’ll love it. You don’t need a chef’s coat. Whatever you wear isn’t gonna change the way you cook. I didn’t come from that. Yes, some of these guys can cook circles around me. But I’m a self-taught rapper. I didn’t take piano lessons or guitar lessons. I had a pen and paper and started writing down some words and hoped they rhymed to their own beat.\u003c/p>\n\u003cp>And real chefs understand that. They get the raw creativity, and that’s what it all is for me. The \u003ca href=\"https://www.youtube.com/watch?v=ko2k6RC4MCc\">sinigang ramen\u003c/a>. Nobody’s doing that or presenting it in the way we do. And I say that with pride, not to brag. We’re injecting something new into this. You’ll walk away feeling better, having learned something. And that’s important to me about the show. We wanna make great food, but what’s greater than expanding your horizons on different levels?\u003c/p>\n\u003cp>\u003cb>Is that part of growing up with immigrant parents? \u003c/b>\u003c/p>\n\u003cp>Totally. And the best part is that our experience [as children of immigrants] is mathematically going to be the dominant experience in this country. We’ll see more people like us — literally and figuratively. That’s not an opinion. That’s facts. It’s trending in a certain direction, and nothing can stop that. And we’ll be enjoying those flavors for a long time.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/playlist?list=PLuFEwujFCNdkNoLfIIOKOwYb1bHpR0v_g\">\u003cem>‘Dinner In Place’\u003c/em>\u003ci> is available to watch on YouTube on Lyrics Born’s channel\u003c/i>\u003c/a>\u003ci>. Season 4 is now streaming. \u003c/i>\u003ca href=\"https://www.instagram.com/lyricsborn/\">\u003ci>Lyrics Born\u003c/i>\u003c/a>\u003ci> will team up with chef Nelson German at \u003c/i>\u003ca href=\"https://www.instagram.com/alamaroakland/\">\u003ci>alaMar Dominican Kitchen\u003c/i>\u003c/a>\u003ci> (100 Grand Ave. #111, Oakland) for a live “Dinner In Place” pop-up on Thurs. Sep. 14 from 5 p.m. to closing.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13934248/lyrics-born-cooking-show-dinner-in-place-berkeley-hella-hungry","authors":["11748"],"programs":["arts_140"],"categories":["arts_1","arts_12276"],"tags":["arts_4672","arts_1270","arts_10278","arts_17573","arts_831","arts_20719","arts_18242","arts_10633","arts_1334"],"featImg":"arts_13934224","label":"source_arts_13934248"},"arts_13929138":{"type":"posts","id":"arts_13929138","meta":{"index":"posts_1591205157","site":"arts","id":"13929138","score":null,"sort":[1684180162000]},"guestAuthors":[],"slug":"in-oakland-a-drag-fest-for-the-community-by-the-community","title":"In Oakland, a Drag Fest for the Community, by the Community","publishDate":1684180162,"format":"standard","headTitle":"In Oakland, a Drag Fest for the Community, by the Community | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>For \u003ca href=\"https://www.instagram.com/beatrixlahaine/\">Beatrix Lahaine\u003c/a> and \u003ca href=\"https://www.instagram.com/mamacelestefanclub/\" target=\"_blank\" rel=\"noopener\">Mama Celeste\u003c/a>, drag has been about community from the start. Nearly a decade ago, both performers started participating in Bay Area nightlife to build queer connections. They soon found their place in San Francisco’s drag scene, with its subversive, no-rules style.\u003c/p>\n\u003cp>But when the fun turned into too many late nights out — “This was before Uber,” says Lahaine, “and I didn’t wanna take the late night bus” — they decided to bring it home over the bridge to the East Bay.\u003c/p>\n\u003cp>[aside postid='arts_13835533']In 2018, the duo founded \u003ca href=\"https://www.oaklash.com/\">Oaklash\u003c/a> as one night of drag shows. Now, their celebration has grown into a whole month of events designed to uplift local drag artists and provide them with resources to keep performing. For its sixth annual event this year, the Bay Area’s drag festival includes a series of panels and workshops — \u003ca href=\"https://www.eventbrite.com/e/black-brown-king-workshop-registration-620400553757\" target=\"_blank\" rel=\"noopener\">like one on May 17 for Black and brown drag kings\u003c/a> — all leading up to its main weekend of “nonstop” drag, from May 19–21.\u003c/p>\n\u003cp>Oaklash kicks off with Backlash at Thee Stork Club on Friday night, hosted by \u003ca href=\"https://www.instagram.com/kochinarude/\" target=\"_blank\" rel=\"noopener\">Kochina Rude\u003c/a> and featuring live sets by queer and trans musicians and bands.\u003c/p>\n\u003cfigure id=\"attachment_13929152\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Bionka-Simone-by-Fred-Rowe-Oaklash-2022-scaled.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929152\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Bionka-Simone-by-Fred-Rowe-Oaklash-2022-800x478.jpeg\" alt=\"a Black drag performer in a bright blue wig and red outfit performs in the street as a crowd looks on, smiling and cheering\" width=\"800\" height=\"478\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Bionka-Simone-by-Fred-Rowe-Oaklash-2022-800x478.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Bionka-Simone-by-Fred-Rowe-Oaklash-2022-1020x610.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Bionka-Simone-by-Fred-Rowe-Oaklash-2022-160x96.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Bionka-Simone-by-Fred-Rowe-Oaklash-2022-768x459.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Bionka-Simone-by-Fred-Rowe-Oaklash-2022-1536x919.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Bionka-Simone-by-Fred-Rowe-Oaklash-2022-2048x1225.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Bionka-Simone-by-Fred-Rowe-Oaklash-2022-1920x1148.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Drag performer Bionka Simone at Oaklash 2022. \u003ccite>(Fred Rowe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Saturday brings an all-ages block party to Old Oakland with two stages of live drag performances, DJs, and more at 9th & Washington. Performers come from the Bay and beyond — including \u003ca href=\"https://www.instagram.com/nicki_jizz/\" target=\"_blank\" rel=\"noopener\">Nicki Jizz\u003c/a>, recently crowned \u003ca href=\"https://twitter.com/SalinaEstitties/status/1657985795842805765\">Drag Queen of the Year\u003c/a> and host of SF Oasis’ \u003ca href=\"https://www.instagram.com/reparationssf/\" target=\"_blank\" rel=\"noopener\">Reparations drag show\u003c/a>, as well as \u003ca href=\"https://www.instagram.com/getjaxed/?hl=en\" target=\"_blank\" rel=\"noopener\">Jax\u003c/a> and\u003ca href=\"https://www.instagram.com/naomismalls/\"> Naomi Smalls\u003c/a> of \u003cem>RuPaul’s Drag Race\u003c/em>. It’s all followed by an Afterkii at the Continental Club, hosted by \u003ca href=\"https://www.instagram.com/princesspanocha/\" target=\"_blank\" rel=\"noopener\">Princess Panocha\u003c/a> and going until late.\u003c/p>\n\u003cp>Oaklash gets a fairytale ending with an adults-only takeover of \u003ca href=\"https://www.kqed.org/news/11948422/the-future-looks-bright-for-childrens-fairyland-as-it-seeks-to-better-reflect-oaklands-cultural-rainbow\">Children’s Fairyland\u003c/a> on Sunday night. “Who needs Disneyland?” says Lahaine. “We have actual drag at Fairyland, the one that started it all!”\u003c/p>\n\u003cp>At each event, say organizers, equity will take center stage: “It speaks to the authentic community nature of our event that we’re not the ones making all the decisions,” says Mama Celeste. The organization’s board has built the festival around a \u003ca href=\"https://www.oaklash.com/equity\">Cultural Equity Framework\u003c/a>, designed to mirror Oakland’s revolutionary and inclusive spirit. All talent was selected by other Bay Area artists — and they’re all being paid. Several focus on providing tough-to-find resources. For example, Oaklash hosted a workshop about lip syncing, a skill many performers aren’t even taught, as they’re simply expected to learn by watching, says Mama Celeste.\u003c/p>\n\u003cfigure id=\"attachment_13929153\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Mahlae-Balenciaga-by-Fred-Rowe-Oaklash-2022-scaled.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929153\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Mahlae-Balenciaga-by-Fred-Rowe-Oaklash-2022-800x533.jpeg\" alt=\"a drag performer in high heel red boots laughs as she performs outside for a crowd\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Mahlae-Balenciaga-by-Fred-Rowe-Oaklash-2022-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Mahlae-Balenciaga-by-Fred-Rowe-Oaklash-2022-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Mahlae-Balenciaga-by-Fred-Rowe-Oaklash-2022-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Mahlae-Balenciaga-by-Fred-Rowe-Oaklash-2022-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Mahlae-Balenciaga-by-Fred-Rowe-Oaklash-2022-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Mahlae-Balenciaga-by-Fred-Rowe-Oaklash-2022-2048x1365.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Mahlae-Balenciaga-by-Fred-Rowe-Oaklash-2022-1920x1280.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mahlae Balenciaga performs at Oaklash 2022. \u003ccite>(Fred Rowe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We put out open calls for these workshops because we don’t want to decide what’s important for the community; we want the community to tell us what’s important.” All Oaklash events are ASL interpreted. Last year, the organization created the \u003ca href=\"https://48hills.org/2022/10/newly-established-oaklash-disability-fund-wants-to-make-drag-accessible-to-all/\">Oaklash Disability Fund\u003c/a> to make drag even more accessible to all.\u003c/p>\n\u003cp>With the scale of the festival growing each year, logistics can get crazy, says Beatrix. But the community’s enthusiasm keeps organizers going. “The Bay Area really supports new ideas and people who are trying new things,” says Beatrix. “I feel like there’s this ‘I can do that’ attitude that’s very accepting. Like, ‘If you want to do it, do it!’”\u003c/p>\n\u003cp>It’s this love that’s helped Oaklash evolve and thrive, says Mama Celeste: “It’s why we create these safe, welcoming, accessible, loving, heart-filled spaces — queer people deserve to forget about the rest of the world for a second and just kiki and party and have the most fun in their lives.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Oaklash hosts a series of workshops throughout May, leading up to a weekend of drag May 19–21. Highlights include the Oaklash Block Party in Old Oakland (9th and Broadway) and the Grand Finale at Children’s Fairyland (699 Bellevue Ave). \u003ca href=\"https://www.eventbrite.com/e/oaklash-2023-registration-526910382137\">Find tickets\u003c/a> and \u003ca href=\"https://www.oaklash.com/\">more info here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n","blocks":[],"excerpt":"In Oaklash's sixth year, the celebration brings accessible parties to Thee Stork Club, Fairyland and the streets. ","status":"publish","parent":0,"modified":1705005498,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":14,"wordCount":713},"headData":{"title":"In Oakland, a Drag Fest for the Community, by the Community | KQED","description":"In Oaklash's sixth year, the celebration brings accessible parties to Thee Stork Club, Fairyland and the streets. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","socialTitle":"In Oakland, a Drag Fest for the Community, by the Community | KQED"},"sticky":false,"nprByline":"\u003ca href=\"https://www.kqed.org/author/emilianovilla\">Emiliano Villa\u003c/a>","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13929138/in-oakland-a-drag-fest-for-the-community-by-the-community","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>For \u003ca href=\"https://www.instagram.com/beatrixlahaine/\">Beatrix Lahaine\u003c/a> and \u003ca href=\"https://www.instagram.com/mamacelestefanclub/\" target=\"_blank\" rel=\"noopener\">Mama Celeste\u003c/a>, drag has been about community from the start. Nearly a decade ago, both performers started participating in Bay Area nightlife to build queer connections. They soon found their place in San Francisco’s drag scene, with its subversive, no-rules style.\u003c/p>\n\u003cp>But when the fun turned into too many late nights out — “This was before Uber,” says Lahaine, “and I didn’t wanna take the late night bus” — they decided to bring it home over the bridge to the East Bay.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13835533","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>In 2018, the duo founded \u003ca href=\"https://www.oaklash.com/\">Oaklash\u003c/a> as one night of drag shows. Now, their celebration has grown into a whole month of events designed to uplift local drag artists and provide them with resources to keep performing. For its sixth annual event this year, the Bay Area’s drag festival includes a series of panels and workshops — \u003ca href=\"https://www.eventbrite.com/e/black-brown-king-workshop-registration-620400553757\" target=\"_blank\" rel=\"noopener\">like one on May 17 for Black and brown drag kings\u003c/a> — all leading up to its main weekend of “nonstop” drag, from May 19–21.\u003c/p>\n\u003cp>Oaklash kicks off with Backlash at Thee Stork Club on Friday night, hosted by \u003ca href=\"https://www.instagram.com/kochinarude/\" target=\"_blank\" rel=\"noopener\">Kochina Rude\u003c/a> and featuring live sets by queer and trans musicians and bands.\u003c/p>\n\u003cfigure id=\"attachment_13929152\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Bionka-Simone-by-Fred-Rowe-Oaklash-2022-scaled.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929152\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Bionka-Simone-by-Fred-Rowe-Oaklash-2022-800x478.jpeg\" alt=\"a Black drag performer in a bright blue wig and red outfit performs in the street as a crowd looks on, smiling and cheering\" width=\"800\" height=\"478\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Bionka-Simone-by-Fred-Rowe-Oaklash-2022-800x478.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Bionka-Simone-by-Fred-Rowe-Oaklash-2022-1020x610.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Bionka-Simone-by-Fred-Rowe-Oaklash-2022-160x96.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Bionka-Simone-by-Fred-Rowe-Oaklash-2022-768x459.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Bionka-Simone-by-Fred-Rowe-Oaklash-2022-1536x919.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Bionka-Simone-by-Fred-Rowe-Oaklash-2022-2048x1225.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Bionka-Simone-by-Fred-Rowe-Oaklash-2022-1920x1148.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Drag performer Bionka Simone at Oaklash 2022. \u003ccite>(Fred Rowe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Saturday brings an all-ages block party to Old Oakland with two stages of live drag performances, DJs, and more at 9th & Washington. Performers come from the Bay and beyond — including \u003ca href=\"https://www.instagram.com/nicki_jizz/\" target=\"_blank\" rel=\"noopener\">Nicki Jizz\u003c/a>, recently crowned \u003ca href=\"https://twitter.com/SalinaEstitties/status/1657985795842805765\">Drag Queen of the Year\u003c/a> and host of SF Oasis’ \u003ca href=\"https://www.instagram.com/reparationssf/\" target=\"_blank\" rel=\"noopener\">Reparations drag show\u003c/a>, as well as \u003ca href=\"https://www.instagram.com/getjaxed/?hl=en\" target=\"_blank\" rel=\"noopener\">Jax\u003c/a> and\u003ca href=\"https://www.instagram.com/naomismalls/\"> Naomi Smalls\u003c/a> of \u003cem>RuPaul’s Drag Race\u003c/em>. It’s all followed by an Afterkii at the Continental Club, hosted by \u003ca href=\"https://www.instagram.com/princesspanocha/\" target=\"_blank\" rel=\"noopener\">Princess Panocha\u003c/a> and going until late.\u003c/p>\n\u003cp>Oaklash gets a fairytale ending with an adults-only takeover of \u003ca href=\"https://www.kqed.org/news/11948422/the-future-looks-bright-for-childrens-fairyland-as-it-seeks-to-better-reflect-oaklands-cultural-rainbow\">Children’s Fairyland\u003c/a> on Sunday night. “Who needs Disneyland?” says Lahaine. “We have actual drag at Fairyland, the one that started it all!”\u003c/p>\n\u003cp>At each event, say organizers, equity will take center stage: “It speaks to the authentic community nature of our event that we’re not the ones making all the decisions,” says Mama Celeste. The organization’s board has built the festival around a \u003ca href=\"https://www.oaklash.com/equity\">Cultural Equity Framework\u003c/a>, designed to mirror Oakland’s revolutionary and inclusive spirit. All talent was selected by other Bay Area artists — and they’re all being paid. Several focus on providing tough-to-find resources. For example, Oaklash hosted a workshop about lip syncing, a skill many performers aren’t even taught, as they’re simply expected to learn by watching, says Mama Celeste.\u003c/p>\n\u003cfigure id=\"attachment_13929153\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Mahlae-Balenciaga-by-Fred-Rowe-Oaklash-2022-scaled.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929153\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Mahlae-Balenciaga-by-Fred-Rowe-Oaklash-2022-800x533.jpeg\" alt=\"a drag performer in high heel red boots laughs as she performs outside for a crowd\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Mahlae-Balenciaga-by-Fred-Rowe-Oaklash-2022-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Mahlae-Balenciaga-by-Fred-Rowe-Oaklash-2022-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Mahlae-Balenciaga-by-Fred-Rowe-Oaklash-2022-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Mahlae-Balenciaga-by-Fred-Rowe-Oaklash-2022-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Mahlae-Balenciaga-by-Fred-Rowe-Oaklash-2022-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Mahlae-Balenciaga-by-Fred-Rowe-Oaklash-2022-2048x1365.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Mahlae-Balenciaga-by-Fred-Rowe-Oaklash-2022-1920x1280.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mahlae Balenciaga performs at Oaklash 2022. \u003ccite>(Fred Rowe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We put out open calls for these workshops because we don’t want to decide what’s important for the community; we want the community to tell us what’s important.” All Oaklash events are ASL interpreted. Last year, the organization created the \u003ca href=\"https://48hills.org/2022/10/newly-established-oaklash-disability-fund-wants-to-make-drag-accessible-to-all/\">Oaklash Disability Fund\u003c/a> to make drag even more accessible to all.\u003c/p>\n\u003cp>With the scale of the festival growing each year, logistics can get crazy, says Beatrix. But the community’s enthusiasm keeps organizers going. “The Bay Area really supports new ideas and people who are trying new things,” says Beatrix. “I feel like there’s this ‘I can do that’ attitude that’s very accepting. Like, ‘If you want to do it, do it!’”\u003c/p>\n\u003cp>It’s this love that’s helped Oaklash evolve and thrive, says Mama Celeste: “It’s why we create these safe, welcoming, accessible, loving, heart-filled spaces — queer people deserve to forget about the rest of the world for a second and just kiki and party and have the most fun in their lives.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Oaklash hosts a series of workshops throughout May, leading up to a weekend of drag May 19–21. Highlights include the Oaklash Block Party in Old Oakland (9th and Broadway) and the Grand Finale at Children’s Fairyland (699 Bellevue Ave). \u003ca href=\"https://www.eventbrite.com/e/oaklash-2023-registration-526910382137\">Find tickets\u003c/a> and \u003ca href=\"https://www.oaklash.com/\">more info here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13929138/in-oakland-a-drag-fest-for-the-community-by-the-community","authors":["byline_arts_13929138"],"programs":["arts_140"],"categories":["arts_1","arts_835","arts_1003"],"tags":["arts_11374","arts_1556","arts_10278","arts_1143","arts_1334","arts_585","arts_699"],"featImg":"arts_13929146","label":"arts_140"},"arts_13925110":{"type":"posts","id":"arts_13925110","meta":{"index":"posts_1591205157","site":"arts","id":"13925110","score":null,"sort":[1676404468000]},"guestAuthors":[],"slug":"black-is-the-new-black-in-fashion-forward-films-at-moad","title":"Black Is the New Black in Fashion-Forward Films at MoAD","publishDate":1676404468,"format":"standard","headTitle":"Black Is the New Black in Fashion-Forward Films at MoAD | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Fashion is flash. Fashion is beauty. Fashion is \u003cem>right freaking now\u003c/em>. And believe it or not, fashion is resistance.\u003c/p>\n\u003cp>That last line is the mantra of Júlio César da Silva Lima, the visionary cofounder of the Rio de Janeiro modeling agency Jacaré é Moda. We meet Julio at an open casting call at the beginning of \u003cem>Favela é Moda (Favela Is Fashion)\u003c/em>, Brazilian filmmaker Emilio Domingos’ marvelous 2019 documentary, preaching his philosophy and teaching runway technique to stylish young Black women and men.[aside label=\"Related Stories\" postID=\"arts_13923936,arts_13924879\"]\u003c/p>\n\u003cp>\u003ca href=\"https://www.moadsf.org/event/film-screening-discussion-favela-e-moda-favela-is-fashion\">\u003cem>Favela é Moda\u003c/em>\u003c/a>, screening Wednesday, Feb. 15 at the Museum of the African Diaspora, is the first of two films in the museum’s screening-and-discussion series accompanying \u003cem>The New Black Vanguard: Photography Between Art and Fashion\u003c/em> (continuing through March 5).\u003c/p>\n\u003cp>Julio’s agency aims to place Black models in the upper strata of the fashion world. But that’s just one (admittedly huge) component of his business model. Crucially, he located the agency in the Jacarezinho favela, the kind of environment where his aspiring models were born, formed and live. “Can you imagine the favela being its own tool for empowerment?” he declares.\u003c/p>\n\u003cp>The true stars of \u003cem>Favela é Moda — \u003c/em>aside from Julio’s dynamic, inspiring presence — are the self-aware, gender-affirming beauties he’s accepted into his program. Mature and articulate, they don’t reek of ambition nor lust for fame, riches or movie-star consorts. They know who they are, they know how the world sees them (that is, they know how white Rio sees Black favela residents) and they have the courage to express their sexual identities — and their style — on the street.\u003c/p>\n\u003cp>Structurally, the film follows a group of new recruits through their agency training. The program is designed, surprisingly, to build trust and camaraderie among the models rather than to groom and elevate future stars. There isn’t a whiff of competition — each person has a unique and different presentation — which distinguishes the film from a reality TV show. Along the way, the typical audience expectation of a big payoff — getting the job — evaporates, and we are rewarded with a celebration of identity instead.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=VejgQz5x3_4\u003c/p>\n\u003cp>I met up with longtime California Newsreel director Cornelius Moore, who chose the MoAD films, for a casual conversation over mint tea at Arizmendi Bakery in the Mission. When I suggested that \u003cem>Favela é Moda\u003c/em> wasn’t a political film, he pushed back, noting the various ways in which the aspiring models convey their experiences of racism, poverty, homophobia and lack of opportunity.\u003c/p>\n\u003cp>Moore is right, of course. The compliment I intended to pay to Emilio Domingos (whose upcoming documentary, \u003cem>Black Rio! Black Power!\u003c/em>, is a cultural history propelled by a music scene) is that he didn’t make an overtly political film — that is, a polemic. For example, there are almost no shots of the favelas. The intent isn’t to sanitize the models’ backgrounds, but to avoid defining them (and imprisoning them) by their environment. For that’s precisely what Rio’s upper classes do.\u003c/p>\n\u003cp>\u003cem>Favela é Moda\u003c/em> makes its points organically, through its brave, resilient, endearing and beautiful characters. They are people you’ll relish spending time with.\u003c/p>\n\u003cp>If identity is the motor of \u003cem>Favela é Moda\u003c/em>, fashion as full-on self-expression provides the juju and heartbeat of \u003ca href=\"https://www.moadsf.org/event/film-screening-discussion-bangaologia-the-science-of-style\">\u003cem>BANGAOLOGIA: The Science of Style\u003c/em> (2016)\u003c/a>, screening Feb. 22 at MoAD. José Eduardo Paulino dos Santos’ colorful survey of Angola’s flamboyant signature style, Banga, is immersive and entertaining, but not altogether persuasive.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=fPwESt8L98U\u003c/p>\n\u003cp>The filmmaker is better known, at home and abroad, as the musician, clothing designer and TV producer Coréon Dú. So he’s welcomed into seemingly every cultural corner of Angola, including rural villages where traditional, heavily symbolic clothes and accessories are still embraced. But he finds his thrill primarily in Luanda, the capital, which brims with everyday people displaying their Banga.\u003c/p>\n\u003cp>Banga, according to one of the academics interviewed by Dú, is “a style that isn’t discreet, but the exact opposite. The less discreet, the better, because that’s the only way to stand out.” Papa Swegué, a fastidious Kudoro (music and dance) artist, is the perfect exemplar, sporting a dressy pink suit with short pants that is all the more impressive for its incongruity in his dusty, low-income neighborhood.\u003c/p>\n\u003cp>Everyone Dú talks to knows what Banga is, even if they can’t quite define it. It’s a fusion of style, vanity and performance (including movement) that can be expressed through the singular handiwork of ace tailors or curious combinations of mass-market clothes combed from street stalls. Modernity and tradition intersect and overlap. Above all, seemingly every Angolan asserts that Banga is unique to Angolans. I’m not sure \u003cem>BANGAOLOGIA\u003c/em> makes that case, but it’s pleasures are undeniable.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The film bounces to New York, Los Angeles and Lisbon to suggest the influence of Angolan style and attitude on those urban cultures. Angolan models have landed a foothold in the fashion world and, even with their astonishing beauty, their defining quality is their self-possession.\u003c/p>\n\u003cp>Angola, on the west coast of southern Africa, was a Portuguese colony for centuries. A civil war erupted when the country gained its independence in 1975. The professors and cultural critics interviewed by Dú don’t delve deeply into the roots of Banga, perhaps because the post-colonial impulse to claim and assert one’s identity and style — that is, to proclaim one’s freedom — is self-evident.\u003c/p>\n\u003cp>The one unambiguous takeaway from \u003cem>BANGAOLOGIA\u003c/em>, expressed most directly through clothes and posture and attitude rather than testimony, is that Black is beautiful. Maybe that was a radical concept half a century (or more) ago, but surely not anymore.\u003c/p>\n\u003cp>Finally, if you go to \u003cem>BANGAOLOGIA\u003c/em>, dress up a bit. It doesn’t have to be a pink suit with short pants, necessarily, but something with flash. Just as it’s wise to see a movie about food on a full stomach, you’ll feel better if you’re sporting some style.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.moadsf.org/event/film-screening-discussion-favela-e-moda-favela-is-fashion\">Favela é Moda\u003c/a>‘ screens at 6:30 p.m. Wednesday, Feb. 15 at the Museum of the African Diaspora in San Francisco. ‘\u003ca href=\"https://www.moadsf.org/event/film-screening-discussion-bangaologia-the-science-of-style\">BANGAOLOGIA\u003c/a>‘ screens at 6:30 p.m. the following Wednesday, Feb. 22. For details, visit \u003ca href=\"https://www.moadsf.org/\">moadsf.org\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"A pair of documentaries from Brazil and Angola highlight the power in personal style and identity.","status":"publish","parent":0,"modified":1705005844,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":21,"wordCount":1128},"headData":{"title":"Black Is the New Black in Fashion-Forward Films at MoAD | KQED","description":"A pair of documentaries from Brazil and Angola highlight the power in personal style and identity.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13925110/black-is-the-new-black-in-fashion-forward-films-at-moad","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Fashion is flash. Fashion is beauty. Fashion is \u003cem>right freaking now\u003c/em>. And believe it or not, fashion is resistance.\u003c/p>\n\u003cp>That last line is the mantra of Júlio César da Silva Lima, the visionary cofounder of the Rio de Janeiro modeling agency Jacaré é Moda. We meet Julio at an open casting call at the beginning of \u003cem>Favela é Moda (Favela Is Fashion)\u003c/em>, Brazilian filmmaker Emilio Domingos’ marvelous 2019 documentary, preaching his philosophy and teaching runway technique to stylish young Black women and men.\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"label":"Related Stories ","postid":"arts_13923936,arts_13924879"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.moadsf.org/event/film-screening-discussion-favela-e-moda-favela-is-fashion\">\u003cem>Favela é Moda\u003c/em>\u003c/a>, screening Wednesday, Feb. 15 at the Museum of the African Diaspora, is the first of two films in the museum’s screening-and-discussion series accompanying \u003cem>The New Black Vanguard: Photography Between Art and Fashion\u003c/em> (continuing through March 5).\u003c/p>\n\u003cp>Julio’s agency aims to place Black models in the upper strata of the fashion world. But that’s just one (admittedly huge) component of his business model. Crucially, he located the agency in the Jacarezinho favela, the kind of environment where his aspiring models were born, formed and live. “Can you imagine the favela being its own tool for empowerment?” he declares.\u003c/p>\n\u003cp>The true stars of \u003cem>Favela é Moda — \u003c/em>aside from Julio’s dynamic, inspiring presence — are the self-aware, gender-affirming beauties he’s accepted into his program. Mature and articulate, they don’t reek of ambition nor lust for fame, riches or movie-star consorts. They know who they are, they know how the world sees them (that is, they know how white Rio sees Black favela residents) and they have the courage to express their sexual identities — and their style — on the street.\u003c/p>\n\u003cp>Structurally, the film follows a group of new recruits through their agency training. The program is designed, surprisingly, to build trust and camaraderie among the models rather than to groom and elevate future stars. There isn’t a whiff of competition — each person has a unique and different presentation — which distinguishes the film from a reality TV show. Along the way, the typical audience expectation of a big payoff — getting the job — evaporates, and we are rewarded with a celebration of identity instead.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/VejgQz5x3_4'\n title='//www.youtube.com/embed/VejgQz5x3_4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>I met up with longtime California Newsreel director Cornelius Moore, who chose the MoAD films, for a casual conversation over mint tea at Arizmendi Bakery in the Mission. When I suggested that \u003cem>Favela é Moda\u003c/em> wasn’t a political film, he pushed back, noting the various ways in which the aspiring models convey their experiences of racism, poverty, homophobia and lack of opportunity.\u003c/p>\n\u003cp>Moore is right, of course. The compliment I intended to pay to Emilio Domingos (whose upcoming documentary, \u003cem>Black Rio! Black Power!\u003c/em>, is a cultural history propelled by a music scene) is that he didn’t make an overtly political film — that is, a polemic. For example, there are almost no shots of the favelas. The intent isn’t to sanitize the models’ backgrounds, but to avoid defining them (and imprisoning them) by their environment. For that’s precisely what Rio’s upper classes do.\u003c/p>\n\u003cp>\u003cem>Favela é Moda\u003c/em> makes its points organically, through its brave, resilient, endearing and beautiful characters. They are people you’ll relish spending time with.\u003c/p>\n\u003cp>If identity is the motor of \u003cem>Favela é Moda\u003c/em>, fashion as full-on self-expression provides the juju and heartbeat of \u003ca href=\"https://www.moadsf.org/event/film-screening-discussion-bangaologia-the-science-of-style\">\u003cem>BANGAOLOGIA: The Science of Style\u003c/em> (2016)\u003c/a>, screening Feb. 22 at MoAD. José Eduardo Paulino dos Santos’ colorful survey of Angola’s flamboyant signature style, Banga, is immersive and entertaining, but not altogether persuasive.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/fPwESt8L98U'\n title='//www.youtube.com/embed/fPwESt8L98U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The filmmaker is better known, at home and abroad, as the musician, clothing designer and TV producer Coréon Dú. So he’s welcomed into seemingly every cultural corner of Angola, including rural villages where traditional, heavily symbolic clothes and accessories are still embraced. But he finds his thrill primarily in Luanda, the capital, which brims with everyday people displaying their Banga.\u003c/p>\n\u003cp>Banga, according to one of the academics interviewed by Dú, is “a style that isn’t discreet, but the exact opposite. The less discreet, the better, because that’s the only way to stand out.” Papa Swegué, a fastidious Kudoro (music and dance) artist, is the perfect exemplar, sporting a dressy pink suit with short pants that is all the more impressive for its incongruity in his dusty, low-income neighborhood.\u003c/p>\n\u003cp>Everyone Dú talks to knows what Banga is, even if they can’t quite define it. It’s a fusion of style, vanity and performance (including movement) that can be expressed through the singular handiwork of ace tailors or curious combinations of mass-market clothes combed from street stalls. Modernity and tradition intersect and overlap. Above all, seemingly every Angolan asserts that Banga is unique to Angolans. I’m not sure \u003cem>BANGAOLOGIA\u003c/em> makes that case, but it’s pleasures are undeniable.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The film bounces to New York, Los Angeles and Lisbon to suggest the influence of Angolan style and attitude on those urban cultures. Angolan models have landed a foothold in the fashion world and, even with their astonishing beauty, their defining quality is their self-possession.\u003c/p>\n\u003cp>Angola, on the west coast of southern Africa, was a Portuguese colony for centuries. A civil war erupted when the country gained its independence in 1975. The professors and cultural critics interviewed by Dú don’t delve deeply into the roots of Banga, perhaps because the post-colonial impulse to claim and assert one’s identity and style — that is, to proclaim one’s freedom — is self-evident.\u003c/p>\n\u003cp>The one unambiguous takeaway from \u003cem>BANGAOLOGIA\u003c/em>, expressed most directly through clothes and posture and attitude rather than testimony, is that Black is beautiful. Maybe that was a radical concept half a century (or more) ago, but surely not anymore.\u003c/p>\n\u003cp>Finally, if you go to \u003cem>BANGAOLOGIA\u003c/em>, dress up a bit. It doesn’t have to be a pink suit with short pants, necessarily, but something with flash. Just as it’s wise to see a movie about food on a full stomach, you’ll feel better if you’re sporting some style.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.moadsf.org/event/film-screening-discussion-favela-e-moda-favela-is-fashion\">Favela é Moda\u003c/a>‘ screens at 6:30 p.m. Wednesday, Feb. 15 at the Museum of the African Diaspora in San Francisco. ‘\u003ca href=\"https://www.moadsf.org/event/film-screening-discussion-bangaologia-the-science-of-style\">BANGAOLOGIA\u003c/a>‘ screens at 6:30 p.m. the following Wednesday, Feb. 22. For details, visit \u003ca href=\"https://www.moadsf.org/\">moadsf.org\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13925110/black-is-the-new-black-in-fashion-forward-films-at-moad","authors":["22"],"programs":["arts_140"],"categories":["arts_1","arts_835","arts_74"],"tags":["arts_4096","arts_1696","arts_11457","arts_1987","arts_769","arts_1334"],"featImg":"arts_13925130","label":"arts_140"},"arts_13923606":{"type":"posts","id":"arts_13923606","meta":{"index":"posts_1591205157","site":"arts","id":"13923606","score":null,"sort":[1673483056000]},"guestAuthors":[],"slug":"at-the-black-and-brown-comix-arts-festival-a-geeks-and-sci-fi-lovers-family-reunion","title":"At the Black and Brown Comix Arts Festival, a Geeks’ and Sci-fi Lovers’ Family Reunion","publishDate":1673483056,"format":"standard","headTitle":"At the Black and Brown Comix Arts Festival, a Geeks’ and Sci-fi Lovers’ Family Reunion | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>During the weekend of Martin Luther King Jr. Day, the \u003ca href=\"https://bcafcon.org/\">Black and Brown Comix Arts Festival\u003c/a> (BCAF) will make its in-person return at the \u003ca href=\"https://ybca.org/\">Yerba Buena Center for the Arts\u003c/a>. The two-day fest, which debuted in 2015, aims to decenter the white gaze of the mainstream comics industry in favor of narratives that explore Black and brown history, culture, imagination and possibility.\u003c/p>\n\u003cp>After a two-year virtual run due to the pandemic, the San Francisco festival has reemerged with a stacked slate of programming. Jan. 15 will feature film screenings alongside a series of panels on Afrofuturism; Egyptian influences on modern-day superheroes; and how the past, present and future can be interwoven into new, expansive stories. Jan. 16 will welcome the long-awaited BCAF Expo, a convention-style event where a wide range of mainstream and indie artists will be selling their comics, illustrations, books and other creative works.[aside label=\"Related Stories\" postID=\"arts_13921425,arts_13890579,arts_13914865\"]\u003c/p>\n\u003cp>“It’s like the Super Bowl of Black creators on the West Coast,” says Oakland artist \u003ca href=\"https://www.instagram.com/nuthingoodat4/\">Avy Jetter\u003c/a>, a longtime BCAF exhibitor known for her zombie horror comic \u003cem>Nuthin Good Ever Happens at 4 a.m.\u003c/em> and a series of personal zines that detail her struggles with grief and health. At the first fest, she felt like “such a noob,” worried that she would stick out amongst the other more established artists. But as the day went on, Jetter was surprised at how many fellow comics lovers and creators approached her to offer support, encouragement and collaboration. Now, every time she returns, it “feels like a family reunion.”\u003c/p>\n\u003cp>BCAF was sparked by a conversation between comic book artist \u003ca href=\"https://www.johnjenningsstudio.com/\">John Jennings\u003c/a> and NorCalMLK Foundation executive director \u003ca href=\"https://norcalmlkfoundation.org/people/aaron-grizzell/\">Aaron Grizzell\u003c/a> as they sat for a meal in the summer of 2014. Inspired by the Schomburg Center’s annual \u003ca href=\"https://www.schomcom.org/\">Black Comic Book Festival\u003c/a> in New York, the two were determined to carve out a space that would celebrate and honor Black imagination in the Bay Area. Soon after, comics creator \u003ca href=\"https://bcafcon.org/about/advisors/david-walker/\">David Walker\u003c/a> and cultural anthropologist \u003ca href=\"https://twitter.com/swcarpenter\">Stanford Carpenter\u003c/a> got on board, forming a seminal part of the fest’s advisory committee.\u003c/p>\n\u003cp>“You have a group of people who are creatives, who are scholars and who are managers and executives at nonprofits, who just got together and asked, ‘Would it be cool if we did this?’” says Carpenter. “And then answered it by doing it.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=BjR5aoP8dOM\u003c/p>\n\u003cp>Organizers say BCAF was a success from the get-go, drawing large crowds who were hungry for the bold, diverse stories that were often missing from the shelves of their local comic stores. In place of cookie-cutter superheroes, attendees found Black characters like the brawny vigilante Luke Cage, the nerdy and sensitive student Miles Morales and the katana-wielding apocalyptic survivor Michonne Grimes.\u003c/p>\n\u003cp>There were also independently published zines, comics and graphic novels that illustrated poignant stories — both real and fiction — about the struggles and joys of navigating different worlds and challenges as a person of color. From the beginning, organizers stressed the importance of spotlighting local, indie creators at the convention, as well as the power of representation.\u003c/p>\n\u003cp>“When we begin to see ourselves in cultural spaces and sort of interact with ourselves in regular and normal ways in popular culture,” says Grizzell, “then we find out that, like back in the day, ‘Black is beautiful,’ right?”\u003c/p>\n\u003cp>At BCAF, all comics lovers, old and young, are encouraged to wander without shame. Nothing is a “guilty pleasure,” says writer and BCAF advisor \u003ca href=\"https://www.shawntaylor.net/\">Shawn Taylor.\u003c/a> “It’s such a liberating feeling,” Taylor continues. “Imagine being able to be in your full cultural, ethnic, mythological, folkloric self without having to filter that self through oppressive whiteness, or oppressive maleness or oppressive heterosexuality.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>BCAF 2023 will take place on Jan. 15 and Jan. 16 at the Yerba Buena Center for the Arts in San Francisco. Attendance is free. Limited space is available for the BCAF Party, a celebration at the Cartoon Art Museum on the evening of Jan. 15. Registration is required. \u003ca href=\"https://bcafcon.org/events/\">More information here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n","blocks":[],"excerpt":"The festival, a hub for BIPOC cartoonists and makers, returns in person Jan. 15 and 16 in San Francisco. ","status":"publish","parent":0,"modified":1705005984,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":711},"headData":{"title":"At the Black and Brown Comix Arts Festival, a Geeks’ and Sci-fi Lovers’ Family Reunion | KQED","description":"The festival, a hub for BIPOC cartoonists and makers, returns in person Jan. 15 and 16 in San Francisco. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13923606/at-the-black-and-brown-comix-arts-festival-a-geeks-and-sci-fi-lovers-family-reunion","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>During the weekend of Martin Luther King Jr. Day, the \u003ca href=\"https://bcafcon.org/\">Black and Brown Comix Arts Festival\u003c/a> (BCAF) will make its in-person return at the \u003ca href=\"https://ybca.org/\">Yerba Buena Center for the Arts\u003c/a>. The two-day fest, which debuted in 2015, aims to decenter the white gaze of the mainstream comics industry in favor of narratives that explore Black and brown history, culture, imagination and possibility.\u003c/p>\n\u003cp>After a two-year virtual run due to the pandemic, the San Francisco festival has reemerged with a stacked slate of programming. Jan. 15 will feature film screenings alongside a series of panels on Afrofuturism; Egyptian influences on modern-day superheroes; and how the past, present and future can be interwoven into new, expansive stories. Jan. 16 will welcome the long-awaited BCAF Expo, a convention-style event where a wide range of mainstream and indie artists will be selling their comics, illustrations, books and other creative works.\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"label":"Related Stories ","postid":"arts_13921425,arts_13890579,arts_13914865"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s like the Super Bowl of Black creators on the West Coast,” says Oakland artist \u003ca href=\"https://www.instagram.com/nuthingoodat4/\">Avy Jetter\u003c/a>, a longtime BCAF exhibitor known for her zombie horror comic \u003cem>Nuthin Good Ever Happens at 4 a.m.\u003c/em> and a series of personal zines that detail her struggles with grief and health. At the first fest, she felt like “such a noob,” worried that she would stick out amongst the other more established artists. But as the day went on, Jetter was surprised at how many fellow comics lovers and creators approached her to offer support, encouragement and collaboration. Now, every time she returns, it “feels like a family reunion.”\u003c/p>\n\u003cp>BCAF was sparked by a conversation between comic book artist \u003ca href=\"https://www.johnjenningsstudio.com/\">John Jennings\u003c/a> and NorCalMLK Foundation executive director \u003ca href=\"https://norcalmlkfoundation.org/people/aaron-grizzell/\">Aaron Grizzell\u003c/a> as they sat for a meal in the summer of 2014. Inspired by the Schomburg Center’s annual \u003ca href=\"https://www.schomcom.org/\">Black Comic Book Festival\u003c/a> in New York, the two were determined to carve out a space that would celebrate and honor Black imagination in the Bay Area. Soon after, comics creator \u003ca href=\"https://bcafcon.org/about/advisors/david-walker/\">David Walker\u003c/a> and cultural anthropologist \u003ca href=\"https://twitter.com/swcarpenter\">Stanford Carpenter\u003c/a> got on board, forming a seminal part of the fest’s advisory committee.\u003c/p>\n\u003cp>“You have a group of people who are creatives, who are scholars and who are managers and executives at nonprofits, who just got together and asked, ‘Would it be cool if we did this?’” says Carpenter. “And then answered it by doing it.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/BjR5aoP8dOM'\n title='//www.youtube.com/embed/BjR5aoP8dOM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Organizers say BCAF was a success from the get-go, drawing large crowds who were hungry for the bold, diverse stories that were often missing from the shelves of their local comic stores. In place of cookie-cutter superheroes, attendees found Black characters like the brawny vigilante Luke Cage, the nerdy and sensitive student Miles Morales and the katana-wielding apocalyptic survivor Michonne Grimes.\u003c/p>\n\u003cp>There were also independently published zines, comics and graphic novels that illustrated poignant stories — both real and fiction — about the struggles and joys of navigating different worlds and challenges as a person of color. From the beginning, organizers stressed the importance of spotlighting local, indie creators at the convention, as well as the power of representation.\u003c/p>\n\u003cp>“When we begin to see ourselves in cultural spaces and sort of interact with ourselves in regular and normal ways in popular culture,” says Grizzell, “then we find out that, like back in the day, ‘Black is beautiful,’ right?”\u003c/p>\n\u003cp>At BCAF, all comics lovers, old and young, are encouraged to wander without shame. Nothing is a “guilty pleasure,” says writer and BCAF advisor \u003ca href=\"https://www.shawntaylor.net/\">Shawn Taylor.\u003c/a> “It’s such a liberating feeling,” Taylor continues. “Imagine being able to be in your full cultural, ethnic, mythological, folkloric self without having to filter that self through oppressive whiteness, or oppressive maleness or oppressive heterosexuality.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>BCAF 2023 will take place on Jan. 15 and Jan. 16 at the Yerba Buena Center for the Arts in San Francisco. Attendance is free. Limited space is available for the BCAF Party, a celebration at the Cartoon Art Museum on the evening of Jan. 15. Registration is required. \u003ca href=\"https://bcafcon.org/events/\">More information here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13923606/at-the-black-and-brown-comix-arts-festival-a-geeks-and-sci-fi-lovers-family-reunion","authors":["11813"],"programs":["arts_140"],"categories":["arts_1","arts_73","arts_835"],"tags":["arts_11374","arts_1942","arts_10278","arts_10629","arts_1694","arts_1334","arts_585","arts_699","arts_1955"],"featImg":"arts_13923622","label":"arts_140"},"arts_13921755":{"type":"posts","id":"arts_13921755","meta":{"index":"posts_1591205157","site":"arts","id":"13921755","score":null,"sort":[1668720872000]},"guestAuthors":[],"slug":"in-kongkee-cyberpunk-exhibition-an-ancient-poet-navigates-the-future","title":"In Asian Art Museum's Cyberpunk Exhibition, an Ancient Poet Navigates the Future","publishDate":1668720872,"format":"standard","headTitle":"In Asian Art Museum’s Cyberpunk Exhibition, an Ancient Poet Navigates the Future | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>During China’s formative and tumultuous Warring States period — a time when various regions fought for territory and political power, from around 475 BCE to 221 BCE — the disillusioned and aging poet Qu Yuan decided to end his life in the Miluo river. In his new exhibition \u003cem>Warring States Cyberpunk\u003c/em>, \u003ca href=\"https://about.asianart.org/press/kongkee-warring-states-cyberpunk/\">opening Nov. 18 at the Asian Art Museum\u003c/a>, visual artist and animator Kongkee creates an alternative futuristic reality wherein Qu Yuan emerges and is granted a second chance.\u003c/p>\n\u003cp>As the poet readjusts to bright, jarring sounds and sights, museum-goers are invited into a similarly overwhelming space, drenched in flashy neon light. Floating projections, optical illusions and sound installations meld past and future, nostalgia and fantasy.\u003c/p>\n\u003cp>“I’m trying to find a way to deconstruct your senses, to push you to rediscover yourself a little bit more,” says Kongkee. Now based in London, the artist grew up in Hong Kong, where tradition and modernity intersect, both contradicting and coexisting with one another. In 2013, he began to incorporate futurism and sci-fi into his comic series, \u003ci>Mi Luo Virtual\u003c/i>, to explore how history can be reinvented — a journey that would eventually culminate in this exhibition.\u003c/p>\n\u003cfigure id=\"attachment_13921758\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Kongkee-comics-1-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921758\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Kongkee-comics-1-800x600.jpg\" alt=\"richly colored comic panels on a museum wall\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kongkee-comics-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kongkee-comics-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kongkee-comics-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kongkee-comics-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kongkee-comics-1-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kongkee-comics-1-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kongkee-comics-1-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Selected comic panels from Kongkee’s work on display. \u003ccite>(Kristie Song/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003ci>Warring States\u003c/i>, the artist uses fluorescent cyberpunk imagery to “rip out” and distort conventional understandings of time and history. In Kongkee’s artistic universe, nothing is linear. Here, he intentionally plays with viewers’ expectations to create a multidimensional timeline: one where where everything can exist at once.\u003c/p>\n\u003cp>“River,” one of many immersive video installations, features a large, moving projection of items drifting in blood-orange water. Kongkee imbues the haunting, dystopian scene with nostalgic objects he grew up seeing in his native Hong Kong: road signs, ferries and a book titled \u003cem>Borrowed Place, Borrowed Time\u003c/em> wade through still waters amidst an apocalyptic backdrop.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He hopes that his bright yet bleak vision of the future provokes hope, urgency and reflection from attendees. There is a universality, he says, that comes from “being a human — being put in the river of time, of the universe.”\u003c/p>\n\u003cfigure id=\"attachment_13921760\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Kongkee-LED--scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921760\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Kongkee-LED--800x600.jpg\" alt=\"colorful LED screen art in a museum\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kongkee-LED--800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kongkee-LED--1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kongkee-LED--160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kongkee-LED--768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kongkee-LED--1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kongkee-LED--2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kongkee-LED--1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">LED installations that explore loneliness and perspective in ‘Kongkee: Warring States Cyberpunk.’ \u003ccite>(Kristie Song/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As for Qu Yuan: Kongkee recasts him as a rock star, strutting through intense, highly saturated landscapes in fashionable robes. The artist speaks of the poet with reverence, noting this contemporary, edgy revamping suits Qu Yuan’s groundbreaking ways. During his time, Qu Yuan ushered in a new style of Romantic poetry that departed from conventional four-character verses in favor of lines that varied in length and expression. In his titular work, \u003cem>Lisao\u003c/em>, he wrote: “I plucked soft lotus petals to wipe my welling tears / That fell down in rivers and wet my coat front.” Like Kongkee, his work was neither minimalistic nor subtle — it was effusive and overflowing.\u003c/p>\n\u003cp>But beyond the aesthetic revitalization of the historical figure, Kongkee is interested in how thinking about alternative pasts can open up pathways to alternative futures.\u003c/p>\n\u003cp>Kongkee’s art doesn’t provide answers — it inundates the senses and scatters timelines so viewers might begin to question their own chronologies. “Art is not about solutions,” Kongkee says. “It’s about the feeling, the connection.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Kongkee: Warring States Cyberpunk’ will be on view Nov. 18, 2022 – Jan. 23, 2023 in the Akiko Yamazaki and Jerry Yang Pavilion at the Asian Art Museum in San Francisco. \u003ca href=\"https://about.asianart.org/plan-your-visit/\">Hours and ticket info here\u003c/a>.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"With 'Warring States Cyberpunk,' artist and animator Kongkee melds past and future, nostalgia and fantasy.","status":"publish","parent":0,"modified":1705006145,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":609},"headData":{"title":"In Asian Art Museum's Cyberpunk Exhibition, an Ancient Poet Navigates the Future | KQED","description":"With 'Warring States Cyberpunk,' artist and animator Kongkee melds past and future, nostalgia and fantasy.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","path":"/arts/13921755/in-kongkee-cyberpunk-exhibition-an-ancient-poet-navigates-the-future","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>During China’s formative and tumultuous Warring States period — a time when various regions fought for territory and political power, from around 475 BCE to 221 BCE — the disillusioned and aging poet Qu Yuan decided to end his life in the Miluo river. In his new exhibition \u003cem>Warring States Cyberpunk\u003c/em>, \u003ca href=\"https://about.asianart.org/press/kongkee-warring-states-cyberpunk/\">opening Nov. 18 at the Asian Art Museum\u003c/a>, visual artist and animator Kongkee creates an alternative futuristic reality wherein Qu Yuan emerges and is granted a second chance.\u003c/p>\n\u003cp>As the poet readjusts to bright, jarring sounds and sights, museum-goers are invited into a similarly overwhelming space, drenched in flashy neon light. Floating projections, optical illusions and sound installations meld past and future, nostalgia and fantasy.\u003c/p>\n\u003cp>“I’m trying to find a way to deconstruct your senses, to push you to rediscover yourself a little bit more,” says Kongkee. Now based in London, the artist grew up in Hong Kong, where tradition and modernity intersect, both contradicting and coexisting with one another. In 2013, he began to incorporate futurism and sci-fi into his comic series, \u003ci>Mi Luo Virtual\u003c/i>, to explore how history can be reinvented — a journey that would eventually culminate in this exhibition.\u003c/p>\n\u003cfigure id=\"attachment_13921758\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Kongkee-comics-1-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921758\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Kongkee-comics-1-800x600.jpg\" alt=\"richly colored comic panels on a museum wall\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kongkee-comics-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kongkee-comics-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kongkee-comics-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kongkee-comics-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kongkee-comics-1-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kongkee-comics-1-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kongkee-comics-1-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Selected comic panels from Kongkee’s work on display. \u003ccite>(Kristie Song/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003ci>Warring States\u003c/i>, the artist uses fluorescent cyberpunk imagery to “rip out” and distort conventional understandings of time and history. In Kongkee’s artistic universe, nothing is linear. Here, he intentionally plays with viewers’ expectations to create a multidimensional timeline: one where where everything can exist at once.\u003c/p>\n\u003cp>“River,” one of many immersive video installations, features a large, moving projection of items drifting in blood-orange water. Kongkee imbues the haunting, dystopian scene with nostalgic objects he grew up seeing in his native Hong Kong: road signs, ferries and a book titled \u003cem>Borrowed Place, Borrowed Time\u003c/em> wade through still waters amidst an apocalyptic backdrop.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He hopes that his bright yet bleak vision of the future provokes hope, urgency and reflection from attendees. There is a universality, he says, that comes from “being a human — being put in the river of time, of the universe.”\u003c/p>\n\u003cfigure id=\"attachment_13921760\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Kongkee-LED--scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921760\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Kongkee-LED--800x600.jpg\" alt=\"colorful LED screen art in a museum\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kongkee-LED--800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kongkee-LED--1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kongkee-LED--160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kongkee-LED--768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kongkee-LED--1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kongkee-LED--2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kongkee-LED--1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">LED installations that explore loneliness and perspective in ‘Kongkee: Warring States Cyberpunk.’ \u003ccite>(Kristie Song/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As for Qu Yuan: Kongkee recasts him as a rock star, strutting through intense, highly saturated landscapes in fashionable robes. The artist speaks of the poet with reverence, noting this contemporary, edgy revamping suits Qu Yuan’s groundbreaking ways. During his time, Qu Yuan ushered in a new style of Romantic poetry that departed from conventional four-character verses in favor of lines that varied in length and expression. In his titular work, \u003cem>Lisao\u003c/em>, he wrote: “I plucked soft lotus petals to wipe my welling tears / That fell down in rivers and wet my coat front.” Like Kongkee, his work was neither minimalistic nor subtle — it was effusive and overflowing.\u003c/p>\n\u003cp>But beyond the aesthetic revitalization of the historical figure, Kongkee is interested in how thinking about alternative pasts can open up pathways to alternative futures.\u003c/p>\n\u003cp>Kongkee’s art doesn’t provide answers — it inundates the senses and scatters timelines so viewers might begin to question their own chronologies. “Art is not about solutions,” Kongkee says. “It’s about the feeling, the connection.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Kongkee: Warring States Cyberpunk’ will be on view Nov. 18, 2022 – Jan. 23, 2023 in the Akiko Yamazaki and Jerry Yang Pavilion at the Asian Art Museum in San Francisco. \u003ca href=\"https://about.asianart.org/plan-your-visit/\">Hours and ticket info here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13921755/in-kongkee-cyberpunk-exhibition-an-ancient-poet-navigates-the-future","authors":["11813"],"programs":["arts_140"],"categories":["arts_1","arts_70"],"tags":["arts_2250","arts_10278","arts_913","arts_1334","arts_585","arts_699","arts_901"],"featImg":"arts_13921765","label":"arts_140"},"arts_13921263":{"type":"posts","id":"arts_13921263","meta":{"index":"posts_1591205157","site":"arts","id":"13921263","score":null,"sort":[1667504858000]},"guestAuthors":[],"slug":"armageddon-time-movie-review","title":"The End (of Adolescence) Is Near in ‘Armageddon Time’","publishDate":1667504858,"format":"standard","headTitle":"The End (of Adolescence) Is Near in ‘Armageddon Time’ | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>A small movie with a deceptively explosive title, \u003cem>\u003ca href=\"https://www.focusfeatures.com/armageddon-time/watch/\">Armageddon Time\u003c/a>\u003c/em> (opening Friday, Nov. 4) augurs an apocalypse. Alas, the anticipated earth-shattering arrives with the force of a winter wind rather than a megaton bomb. \u003cem>Do the Right Thing\u003c/em> would have been a better moniker, if it wasn’t too much on the nose—not that writer-director James Gray is averse to hammering home the obvious—and already taken.\u003c/p>\n\u003cp>The end of the world as he knows it is some months away for 11-year-old Paul Graff (a blank-faced Banks Repeta) when the film begins. Life is copacetic for the Jewish sixth-grader as he starts the school year on the eve of the eve of Ronald Reagan’s election in 1980. Yes, there’s tension at home, but there’s always tension in the cramped Queens house, between his older brother (Ryan Sell) picking on him and his plumber father (Jeremy Strong) angsting about everything.\u003c/p>\n\u003cfigure id=\"attachment_13921285\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Armageddon_1200.jpg\" alt=\"A white woman and a white man sit at dining table with empty plates and pastry\" width=\"1200\" height=\"801\" class=\"size-full wp-image-13921285\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Armageddon_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Armageddon_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Armageddon_1200-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Armageddon_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Armageddon_1200-768x513.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Anne Hathaway stars as Esther Graff and Jeremy Strong stars as Irving Graff in ‘Armageddon Time.’ \u003ccite>(Courtesy of Focus Features)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Paul is convinced he’s smarter, wittier and funnier than everyone else, a misplaced confidence acquired through his ability to manipulate his harried mother Esther (Anne Hathaway) and the affirmational ministrations of his doting grandpa Aaron (Anthony Hopkins). Paul isn’t bothered by his family’s expectations, implicit and explicit; he’s sure that great things await him.\u003c/p>\n\u003cp>Plenty of protagonists of coming-of-age stories are both mildly unlikeable and think they’re special. (Those two characteristics are connected in real life, so why not in fiction?) Paul’s saga is also representative of a sub-genre of the genre — portrait of the artist as a young man — as he doesn’t merely draw good pictures for his age but has decided that he’s going to be an artist.\u003c/p>\n\u003cp>You can guess how this goes over with his working-class dad and pragmatic mom, although one wonders why they’re so worked up about an 11-year-old’s half-thawed aspirations. Shouldn’t they be more concerned about Paul pilfering cash from mom’s jewelry box?\u003c/p>\n\u003cfigure id=\"attachment_13921287\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Armageddon2_1200.jpg\" alt=\"A red-headed white boy and an older white man hug on a park bench\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13921287\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Armageddon2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Armageddon2_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Armageddon2_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Armageddon2_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Armageddon2_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Michael Banks Repeta as Paul Graff and Anthony Hopkins as Grandpa\u003cbr>Aaron Rabinowitz in ‘Armageddon Time.’ \u003ccite>(Courtesy of Focus Features)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Paul expects his talent and savvy to carry the day at school as well, but he’s affronted by the blunt instrument that is his teacher. Mr. Turkeltaub’s (Andrew Polk) primary target, though, is a Black student named Johnny (Jaylin Webb) who Turkey (as Johnny calls the teacher) failed the previous year. The friendship that develops between Paul and Johnny becomes the motor of \u003cem>Armageddon Time\u003c/em> and ground zero for its social and moral concerns.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>We should be happy, I suppose, that a veritable spate of current and upcoming films — \u003cem>Armageddon Time\u003c/em>, \u003cem>Causeway\u003c/em>, \u003cem>Empire of Light\u003c/em>, \u003cem>Devotion\u003c/em> and \u003cem>Bones and All\u003c/em> — center on interracial relationships of various types. But those first three movies (the only ones I’ve seen) contain exactly one scene apiece in the Black characters’ homes, contributing to the perception that the filmmakers — for all their good intentions — don’t just foreground but identify with the white characters.\u003c/p>\n\u003cp>\u003cem>Armageddon Time\u003c/em> is semi-autobiographical, so it makes sense. To James Gray’s credit, though, he wants audiences not only to see injustice through Paul’s eyes, but to feel it in Johnny’s bones. The filmmaker wants to implicate us, make us complicit, in the racism that drives the story’s outcomes. At the same time, he has knowingly situated us and all of the Graffs on the horns of the universal dilemma that’s smack at the center of the film: Seeking, finagling, grasping, purchasing and protecting any possibility for the success of one’s children.\u003c/p>\n\u003cfigure id=\"attachment_13921288\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Armageddon3_1200.jpg\" alt=\"Red-headed white boy and white woman face each other tensely in kitchen\" width=\"1200\" height=\"801\" class=\"size-full wp-image-13921288\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Armageddon3_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Armageddon3_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Armageddon3_1200-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Armageddon3_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Armageddon3_1200-768x513.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Michael Banks Repeta and Anne Hathaway in a scene from ‘Armageddon Time.’ \u003ccite>(Courtesy of Focus Features)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When your kid’s future is at stake, everyone and everything else (including principles) is pushed aside. Gray evokes the consequences by cueing the Clash’s piercing cover of “\u003ca href=\"https://youtu.be/PdRL6qH3YRM\">Armagideon Time\u003c/a>” (“A lot of people won’t get no supper tonight / A lot of people won’t get no justice tonight”). You might want to play the band’s “\u003ca href=\"https://youtu.be/ihPenaGJ6P4\">Career Opportunities\u003c/a>” (“the ones you never got”) before you head out to the theater.\u003c/p>\n\u003cp>I said that \u003cem>Armageddon Time\u003c/em> is a small film, but it’s an ambitious one. Along with the aforementioned themes, Gray references the Holocaust and present-day antisemitism, nuclear tensions with the then-Soviet Union and the imperative of originality in art. He could make his points more subtly, but perhaps he thinks the times call for clarity and directness.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Armageddon Time\u003c/em> is, at its most basic level, a chronicle of Paul’s realization that life isn’t fair. (Although anyone with an older sibling would have learned that at a very early age.) Not content to settle for a downbeat, hard-earned life lesson, the movie aspires to inspire us not to settle, either, and to do the right thing, every chance we get.\u003c/p>\n\n","blocks":[],"excerpt":"James Gray’s semi-autobiographical coming-of-age saga grapples with opportunity, racism and injustice.","status":"publish","parent":0,"modified":1705006189,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":900},"headData":{"title":"‘Armageddon Time’ Review: The End (of Adolescence) is Near | KQED","description":"James Gray’s semi-autobiographical coming-of-age saga grapples with opportunity, racism and injustice.","ogTitle":"The End (of Adolescence) Is Near in ‘Armageddon Time’","ogDescription":"","ogImgId":"","twTitle":"The End (of Adolescence) Is Near in ‘Armageddon Time’","twDescription":"","twImgId":"","socialTitle":"‘Armageddon Time’ Review: The End (of Adolescence) is Near %%page%% %%sep%% KQED"},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","path":"/arts/13921263/armageddon-time-movie-review","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>A small movie with a deceptively explosive title, \u003cem>\u003ca href=\"https://www.focusfeatures.com/armageddon-time/watch/\">Armageddon Time\u003c/a>\u003c/em> (opening Friday, Nov. 4) augurs an apocalypse. Alas, the anticipated earth-shattering arrives with the force of a winter wind rather than a megaton bomb. \u003cem>Do the Right Thing\u003c/em> would have been a better moniker, if it wasn’t too much on the nose—not that writer-director James Gray is averse to hammering home the obvious—and already taken.\u003c/p>\n\u003cp>The end of the world as he knows it is some months away for 11-year-old Paul Graff (a blank-faced Banks Repeta) when the film begins. Life is copacetic for the Jewish sixth-grader as he starts the school year on the eve of the eve of Ronald Reagan’s election in 1980. Yes, there’s tension at home, but there’s always tension in the cramped Queens house, between his older brother (Ryan Sell) picking on him and his plumber father (Jeremy Strong) angsting about everything.\u003c/p>\n\u003cfigure id=\"attachment_13921285\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Armageddon_1200.jpg\" alt=\"A white woman and a white man sit at dining table with empty plates and pastry\" width=\"1200\" height=\"801\" class=\"size-full wp-image-13921285\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Armageddon_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Armageddon_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Armageddon_1200-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Armageddon_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Armageddon_1200-768x513.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Anne Hathaway stars as Esther Graff and Jeremy Strong stars as Irving Graff in ‘Armageddon Time.’ \u003ccite>(Courtesy of Focus Features)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Paul is convinced he’s smarter, wittier and funnier than everyone else, a misplaced confidence acquired through his ability to manipulate his harried mother Esther (Anne Hathaway) and the affirmational ministrations of his doting grandpa Aaron (Anthony Hopkins). Paul isn’t bothered by his family’s expectations, implicit and explicit; he’s sure that great things await him.\u003c/p>\n\u003cp>Plenty of protagonists of coming-of-age stories are both mildly unlikeable and think they’re special. (Those two characteristics are connected in real life, so why not in fiction?) Paul’s saga is also representative of a sub-genre of the genre — portrait of the artist as a young man — as he doesn’t merely draw good pictures for his age but has decided that he’s going to be an artist.\u003c/p>\n\u003cp>You can guess how this goes over with his working-class dad and pragmatic mom, although one wonders why they’re so worked up about an 11-year-old’s half-thawed aspirations. Shouldn’t they be more concerned about Paul pilfering cash from mom’s jewelry box?\u003c/p>\n\u003cfigure id=\"attachment_13921287\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Armageddon2_1200.jpg\" alt=\"A red-headed white boy and an older white man hug on a park bench\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13921287\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Armageddon2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Armageddon2_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Armageddon2_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Armageddon2_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Armageddon2_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Michael Banks Repeta as Paul Graff and Anthony Hopkins as Grandpa\u003cbr>Aaron Rabinowitz in ‘Armageddon Time.’ \u003ccite>(Courtesy of Focus Features)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Paul expects his talent and savvy to carry the day at school as well, but he’s affronted by the blunt instrument that is his teacher. Mr. Turkeltaub’s (Andrew Polk) primary target, though, is a Black student named Johnny (Jaylin Webb) who Turkey (as Johnny calls the teacher) failed the previous year. The friendship that develops between Paul and Johnny becomes the motor of \u003cem>Armageddon Time\u003c/em> and ground zero for its social and moral concerns.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>We should be happy, I suppose, that a veritable spate of current and upcoming films — \u003cem>Armageddon Time\u003c/em>, \u003cem>Causeway\u003c/em>, \u003cem>Empire of Light\u003c/em>, \u003cem>Devotion\u003c/em> and \u003cem>Bones and All\u003c/em> — center on interracial relationships of various types. But those first three movies (the only ones I’ve seen) contain exactly one scene apiece in the Black characters’ homes, contributing to the perception that the filmmakers — for all their good intentions — don’t just foreground but identify with the white characters.\u003c/p>\n\u003cp>\u003cem>Armageddon Time\u003c/em> is semi-autobiographical, so it makes sense. To James Gray’s credit, though, he wants audiences not only to see injustice through Paul’s eyes, but to feel it in Johnny’s bones. The filmmaker wants to implicate us, make us complicit, in the racism that drives the story’s outcomes. At the same time, he has knowingly situated us and all of the Graffs on the horns of the universal dilemma that’s smack at the center of the film: Seeking, finagling, grasping, purchasing and protecting any possibility for the success of one’s children.\u003c/p>\n\u003cfigure id=\"attachment_13921288\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Armageddon3_1200.jpg\" alt=\"Red-headed white boy and white woman face each other tensely in kitchen\" width=\"1200\" height=\"801\" class=\"size-full wp-image-13921288\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Armageddon3_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Armageddon3_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Armageddon3_1200-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Armageddon3_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Armageddon3_1200-768x513.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Michael Banks Repeta and Anne Hathaway in a scene from ‘Armageddon Time.’ \u003ccite>(Courtesy of Focus Features)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When your kid’s future is at stake, everyone and everything else (including principles) is pushed aside. Gray evokes the consequences by cueing the Clash’s piercing cover of “\u003ca href=\"https://youtu.be/PdRL6qH3YRM\">Armagideon Time\u003c/a>” (“A lot of people won’t get no supper tonight / A lot of people won’t get no justice tonight”). You might want to play the band’s “\u003ca href=\"https://youtu.be/ihPenaGJ6P4\">Career Opportunities\u003c/a>” (“the ones you never got”) before you head out to the theater.\u003c/p>\n\u003cp>I said that \u003cem>Armageddon Time\u003c/em> is a small film, but it’s an ambitious one. Along with the aforementioned themes, Gray references the Holocaust and present-day antisemitism, nuclear tensions with the then-Soviet Union and the imperative of originality in art. He could make his points more subtly, but perhaps he thinks the times call for clarity and directness.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Armageddon Time\u003c/em> is, at its most basic level, a chronicle of Paul’s realization that life isn’t fair. (Although anyone with an older sibling would have learned that at a very early age.) Not content to settle for a downbeat, hard-earned life lesson, the movie aspires to inspire us not to settle, either, and to do the right thing, every chance we get.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13921263/armageddon-time-movie-review","authors":["22"],"programs":["arts_140"],"categories":["arts_1","arts_74"],"tags":["arts_769","arts_1334"],"featImg":"arts_13921283","label":"arts_140"},"arts_13919309":{"type":"posts","id":"arts_13919309","meta":{"index":"posts_1591205157","site":"arts","id":"13919309","score":null,"sort":[1665445015000]},"guestAuthors":[],"slug":"puerto-rico-we-still-here-hurricane-documentary","title":"From a Hurricane's Ruin, a Puerto Rico Community Grows—on Film","publishDate":1665445015,"format":"standard","headTitle":"From a Hurricane’s Ruin, a Puerto Rico Community Grows—on Film | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>t’s been nearly a month since Hurricane Fiona hit Puerto Rico, leaving the entire island without power. Two weeks after the hurricane, \u003ca href=\"https://www.reuters.com/business/environment/about-101000-still-without-power-puerto-rico-two-weeks-after-hurricane-fiona-2022-10-05/\" target=\"_blank\" rel=\"noopener noreferrer\">over 100,000 residents still had no electricity\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">Fiona, one of this season’s most powerful storms, made landfall almost exactly five years after Hurricane Maria.\u003c/p>\n\u003cp>Maria, the 2017 storm that caused nearly \u003ca style=\"color: #41a62a\" href=\"https://www.hsph.harvard.edu/news/features/hurricane-maria-deaths/\" target=\"_blank\" rel=\"noopener noreferrer\">3,000 excess deaths\u003c/a>, also brought about a visit from then-U.S. President Donald Trump — during which he nonchalantly \u003ca href=\"https://www.youtube.com/watch?v=kEe7_zgZbuI\" target=\"_blank\" rel=\"noopener noreferrer\">tossed paper towels\u003c/a> to those in need.\u003c/p>\n\u003cp>This gesture was emblematic of the response many people felt the U.S. territory received from the government as a whole.\u003c/p>\n\u003cp>It raises the question: what’s the proper response when natural disasters are coupled with manmade oppression, not just in Puerto Rico, but across the United States? What form does justice take in a place that’s been under-resourced, disenfranchised and suffering from the lingering impacts of colonization? How can you truly rebuild after a disaster without addressing preexisting problems?\u003c/p>\n\u003cfigure id=\"attachment_13920228\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13920228\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/6months_3.19-0091.jpg\" alt=\"Members of the 'We Still Here' cast in Washington D.C.\" width=\"750\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/6months_3.19-0091.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/6months_3.19-0091-160x107.jpg 160w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Members of the ‘We Still Here’ cast in Washington D.C.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">B\u003c/span>ay Area-based filmmaker Eli Jacobs-Fantauzzi says he has a clear understanding of what justice \u003cem>doesn’t\u003c/em> look like.\u003c/p>\n\u003cp>“It’s not throwing paper towels at people like the ex-president did, and it’s not throwing water bottles out of helicopters like FEMA and the military did,” Jacobs-Fantauzzi tells me during a phone call.\u003c/p>\n\u003cp>After spending time in the Puerto Rican town of Comerío in the wake of Hurricane Maria five years ago, he’s come to understand that the key to moving toward justice involves people power.\u003c/p>\n\u003cp>“It’s letting everybody get involved in the recovery process,” says Jacobs-Fantauzzi. “Bringing your skills, your talents — really a bottom-up process where it’s centered in love, centered in community and being able to dream of the future you want to create together.”\u003c/p>\n\u003cp>Jacobs-Fantauzzi is the director of the documentary film \u003ca href=\"https://www.westillherepr.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>We Still Here\u003c/em>\u003c/a>, which follows a group of young people working together in Comerío to restore their hometown.\u003c/p>\n\u003cp>The film shows people stepping in when the government isn’t present. Pitching in to build houses and community spaces, and sharing joy with one another. But the multilayered story didn’t start off as a film at all.\u003c/p>\n\u003cp>Jacobs-Fantauzzi originally left the Bay Area to bring donations to the island back in 2017. “Then the next thing you know, we’re in Comerío, we’re giving out solar electric lights and food, and sending people home,” says Jacobs-Fantauzzi. “And then we realized they don’t have a roof over their head.”\u003c/p>\n\u003cfigure id=\"attachment_13920264\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13920264\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/director_EliJacobsFantauzzi2-800x535.jpg\" alt=\"A man in a blue t-shirt and necklace stands with folded arms, wearing a hat, against a blue background of sky.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/director_EliJacobsFantauzzi2-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/director_EliJacobsFantauzzi2-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/director_EliJacobsFantauzzi2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/director_EliJacobsFantauzzi2-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/director_EliJacobsFantauzzi2-1536x1026.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/director_EliJacobsFantauzzi2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bay Area-based filmmaker Eli Jacobs-Fantauzzi, the director of ‘We Still Here.’ \u003ccite>(Courtesy Eli Jacobs-Fantauzzi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jacobs-Fantauzzi and his team started off shooting videos to raise awareness of the situation and the need for resources. Young folks in the community gravitated to the cameras, so Jacobs-Fantauzzi, along with his brother Kahlil Jacobs-Fantauzzi (former Berkeley mayoral candidate and co-founder of Clenched Fist Productions), began teaching workshops. “And then maybe four months later, we look at all the footage we have, and decide to do a film together,” says Jacobs-Fantauzzi.\u003c/p>\n\u003cp>They started with a 10-minute reel, then a 30-minute version before reaching an hour-long iteration. They showed their work around the community. People were brought to tears of gratitude as they watched reflections of themselves via a mobile solar-powered projector and speakers.\u003c/p>\n\u003cp>Jacobs-Fantauzzi emphasizes that the film was a collaborative process. He’s the director, his brother is the producer, but this film is a partnership with the community; specifically the young leaders featured. It’s a process he refers to as “participatory action filmmaking” or “just storytelling,” and says it allows for amplification of a community’s story, as opposed to traditional methods of “mining or extracting.”\u003c/p>\n\u003cp>The method also allows the film’s people to grow and develop naturally before your eyes.\u003c/p>\n\u003cp>Throughout the film, Mariangelie Ortiz, who at the time was 24 years old, emerges as a vocal leader. At one point, Ortiz leans on song and dance for a moment of joy in the midst of the hard work. In another scene, Ortiz is in the halls of congress in Washington D.C., chanting alongside Puerto Ricans from throughout the diaspora, demanding that their people be recognized.\u003c/p>\n\u003cfigure id=\"attachment_13920227\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13920227\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/E17_0923-800x533.jpg\" alt=\"Mariangelie Ortiz and a young person from the community posing with paint brushes during the hurricane recovery effort.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/E17_0923-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/E17_0923-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/E17_0923-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/E17_0923-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/E17_0923.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mariangelie Ortiz and a young person from the community posing with paint brushes during the hurricane recovery effort. \u003ccite>(Via www.westillherepr.com )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>longside Mariangelie Ortiz, a young man named Jerriel “Yeyo” Cátala, and a cast of community activists, the concept of art itself is a main asset to this story. It’s a hell of a notion, given the situation at hand. Why art at a time like this?\u003c/p>\n\u003cp>“In the middle of despair, in the middle of love, in the middle of your greatest joy, I think art is what you go to to express how you’re feeling and who you are,” says Jacobs-Fantauzzi. “It’s so important to let the positive, the anger, the negative, the beauty out, and not keep it bundled up inside. And art is that expression for so many of us — the way we’re able to let those emotions out.”\u003c/p>\n\u003cp>In the end, it’s the art and the joy, combined with the raw beauty of Puerto Rico, that shines in this film. Beyond that is the larger concept of just storytelling, as well as the application of the just recovery method — a process by which those most impacted have a say in how the community moves forward. It’s a method than can be applied anywhere.\u003c/p>\n\u003cp>Here in California, for example, economic inequality is rampant, the cost of goods are through the roof, far too many of us are unhoused and earthquakes are a constant threat. I shudder at the idea that we may one day have to deal with similar circumstances.\u003c/p>\n\u003cp>One step in the right direction? Giving space to those who’ve been impacted the most to tell their stories.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003cem>As a part of the \u003ca href=\"https://www.eventbrite.com/e/13th-annual-fist-up-film-festival-at-la-pena-tickets-424341104667\" target=\"_blank\" rel=\"noopener noreferrer\">13th Annual Fist Up Film Festival,\u003c/a> ‘We Still Here’ screens at the New Parkway Theatre in Oakland on Sunday, Oct. 16, at 2pm. A Q&A follows with director Eli Jacobs-Fantauzzi. \u003ca href=\"https://www.eventbrite.com/e/fist-up-film-festival-x-we-still-here-film-screening-tickets-434032301297\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"The new documentary film 'We Still Here' shows how communities can fight back against inequity while rebuilding from disaster. ","status":"publish","parent":0,"modified":1705006284,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":26,"wordCount":1118},"headData":{"title":"'We Still Here' Chronicles Rebuilding After Puerto Rico's Hurricane Maria | KQED","description":"The new documentary film 'We Still Here' shows how communities can fight back against inequity while rebuilding from disaster. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","socialTitle":"'We Still Here' Chronicles Rebuilding After Puerto Rico's Hurricane Maria %%page%% %%sep%% KQED"},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13919309/puerto-rico-we-still-here-hurricane-documentary","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>t’s been nearly a month since Hurricane Fiona hit Puerto Rico, leaving the entire island without power. Two weeks after the hurricane, \u003ca href=\"https://www.reuters.com/business/environment/about-101000-still-without-power-puerto-rico-two-weeks-after-hurricane-fiona-2022-10-05/\" target=\"_blank\" rel=\"noopener noreferrer\">over 100,000 residents still had no electricity\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">Fiona, one of this season’s most powerful storms, made landfall almost exactly five years after Hurricane Maria.\u003c/p>\n\u003cp>Maria, the 2017 storm that caused nearly \u003ca style=\"color: #41a62a\" href=\"https://www.hsph.harvard.edu/news/features/hurricane-maria-deaths/\" target=\"_blank\" rel=\"noopener noreferrer\">3,000 excess deaths\u003c/a>, also brought about a visit from then-U.S. President Donald Trump — during which he nonchalantly \u003ca href=\"https://www.youtube.com/watch?v=kEe7_zgZbuI\" target=\"_blank\" rel=\"noopener noreferrer\">tossed paper towels\u003c/a> to those in need.\u003c/p>\n\u003cp>This gesture was emblematic of the response many people felt the U.S. territory received from the government as a whole.\u003c/p>\n\u003cp>It raises the question: what’s the proper response when natural disasters are coupled with manmade oppression, not just in Puerto Rico, but across the United States? What form does justice take in a place that’s been under-resourced, disenfranchised and suffering from the lingering impacts of colonization? How can you truly rebuild after a disaster without addressing preexisting problems?\u003c/p>\n\u003cfigure id=\"attachment_13920228\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13920228\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/6months_3.19-0091.jpg\" alt=\"Members of the 'We Still Here' cast in Washington D.C.\" width=\"750\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/6months_3.19-0091.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/6months_3.19-0091-160x107.jpg 160w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Members of the ‘We Still Here’ cast in Washington D.C.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">B\u003c/span>ay Area-based filmmaker Eli Jacobs-Fantauzzi says he has a clear understanding of what justice \u003cem>doesn’t\u003c/em> look like.\u003c/p>\n\u003cp>“It’s not throwing paper towels at people like the ex-president did, and it’s not throwing water bottles out of helicopters like FEMA and the military did,” Jacobs-Fantauzzi tells me during a phone call.\u003c/p>\n\u003cp>After spending time in the Puerto Rican town of Comerío in the wake of Hurricane Maria five years ago, he’s come to understand that the key to moving toward justice involves people power.\u003c/p>\n\u003cp>“It’s letting everybody get involved in the recovery process,” says Jacobs-Fantauzzi. “Bringing your skills, your talents — really a bottom-up process where it’s centered in love, centered in community and being able to dream of the future you want to create together.”\u003c/p>\n\u003cp>Jacobs-Fantauzzi is the director of the documentary film \u003ca href=\"https://www.westillherepr.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>We Still Here\u003c/em>\u003c/a>, which follows a group of young people working together in Comerío to restore their hometown.\u003c/p>\n\u003cp>The film shows people stepping in when the government isn’t present. Pitching in to build houses and community spaces, and sharing joy with one another. But the multilayered story didn’t start off as a film at all.\u003c/p>\n\u003cp>Jacobs-Fantauzzi originally left the Bay Area to bring donations to the island back in 2017. “Then the next thing you know, we’re in Comerío, we’re giving out solar electric lights and food, and sending people home,” says Jacobs-Fantauzzi. “And then we realized they don’t have a roof over their head.”\u003c/p>\n\u003cfigure id=\"attachment_13920264\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13920264\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/director_EliJacobsFantauzzi2-800x535.jpg\" alt=\"A man in a blue t-shirt and necklace stands with folded arms, wearing a hat, against a blue background of sky.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/director_EliJacobsFantauzzi2-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/director_EliJacobsFantauzzi2-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/director_EliJacobsFantauzzi2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/director_EliJacobsFantauzzi2-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/director_EliJacobsFantauzzi2-1536x1026.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/director_EliJacobsFantauzzi2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bay Area-based filmmaker Eli Jacobs-Fantauzzi, the director of ‘We Still Here.’ \u003ccite>(Courtesy Eli Jacobs-Fantauzzi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jacobs-Fantauzzi and his team started off shooting videos to raise awareness of the situation and the need for resources. Young folks in the community gravitated to the cameras, so Jacobs-Fantauzzi, along with his brother Kahlil Jacobs-Fantauzzi (former Berkeley mayoral candidate and co-founder of Clenched Fist Productions), began teaching workshops. “And then maybe four months later, we look at all the footage we have, and decide to do a film together,” says Jacobs-Fantauzzi.\u003c/p>\n\u003cp>They started with a 10-minute reel, then a 30-minute version before reaching an hour-long iteration. They showed their work around the community. People were brought to tears of gratitude as they watched reflections of themselves via a mobile solar-powered projector and speakers.\u003c/p>\n\u003cp>Jacobs-Fantauzzi emphasizes that the film was a collaborative process. He’s the director, his brother is the producer, but this film is a partnership with the community; specifically the young leaders featured. It’s a process he refers to as “participatory action filmmaking” or “just storytelling,” and says it allows for amplification of a community’s story, as opposed to traditional methods of “mining or extracting.”\u003c/p>\n\u003cp>The method also allows the film’s people to grow and develop naturally before your eyes.\u003c/p>\n\u003cp>Throughout the film, Mariangelie Ortiz, who at the time was 24 years old, emerges as a vocal leader. At one point, Ortiz leans on song and dance for a moment of joy in the midst of the hard work. In another scene, Ortiz is in the halls of congress in Washington D.C., chanting alongside Puerto Ricans from throughout the diaspora, demanding that their people be recognized.\u003c/p>\n\u003cfigure id=\"attachment_13920227\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13920227\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/E17_0923-800x533.jpg\" alt=\"Mariangelie Ortiz and a young person from the community posing with paint brushes during the hurricane recovery effort.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/E17_0923-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/E17_0923-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/E17_0923-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/E17_0923-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/E17_0923.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mariangelie Ortiz and a young person from the community posing with paint brushes during the hurricane recovery effort. \u003ccite>(Via www.westillherepr.com )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>longside Mariangelie Ortiz, a young man named Jerriel “Yeyo” Cátala, and a cast of community activists, the concept of art itself is a main asset to this story. It’s a hell of a notion, given the situation at hand. Why art at a time like this?\u003c/p>\n\u003cp>“In the middle of despair, in the middle of love, in the middle of your greatest joy, I think art is what you go to to express how you’re feeling and who you are,” says Jacobs-Fantauzzi. “It’s so important to let the positive, the anger, the negative, the beauty out, and not keep it bundled up inside. And art is that expression for so many of us — the way we’re able to let those emotions out.”\u003c/p>\n\u003cp>In the end, it’s the art and the joy, combined with the raw beauty of Puerto Rico, that shines in this film. Beyond that is the larger concept of just storytelling, as well as the application of the just recovery method — a process by which those most impacted have a say in how the community moves forward. It’s a method than can be applied anywhere.\u003c/p>\n\u003cp>Here in California, for example, economic inequality is rampant, the cost of goods are through the roof, far too many of us are unhoused and earthquakes are a constant threat. I shudder at the idea that we may one day have to deal with similar circumstances.\u003c/p>\n\u003cp>One step in the right direction? Giving space to those who’ve been impacted the most to tell their stories.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003cem>As a part of the \u003ca href=\"https://www.eventbrite.com/e/13th-annual-fist-up-film-festival-at-la-pena-tickets-424341104667\" target=\"_blank\" rel=\"noopener noreferrer\">13th Annual Fist Up Film Festival,\u003c/a> ‘We Still Here’ screens at the New Parkway Theatre in Oakland on Sunday, Oct. 16, at 2pm. A Q&A follows with director Eli Jacobs-Fantauzzi. \u003ca href=\"https://www.eventbrite.com/e/fist-up-film-festival-x-we-still-here-film-screening-tickets-434032301297\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13919309/puerto-rico-we-still-here-hurricane-documentary","authors":["11491"],"programs":["arts_140"],"categories":["arts_1","arts_2303","arts_74"],"tags":["arts_2767","arts_10278","arts_2196","arts_4244","arts_1334","arts_626","arts_585"],"featImg":"arts_13920267","label":"arts_140"},"arts_13920137":{"type":"posts","id":"arts_13920137","meta":{"index":"posts_1591205157","site":"arts","id":"13920137","score":null,"sort":[1665151244000]},"guestAuthors":[],"slug":"in-comrade-sisters-women-of-the-black-panther-party-take-the-spotlight","title":"In ‘Comrade Sisters,’ Women of the Black Panther Party Take the Spotlight","publishDate":1665151244,"format":"standard","headTitle":"In ‘Comrade Sisters,’ Women of the Black Panther Party Take the Spotlight | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>When FBI director J. Edgar Hoover declared the Black Panther Party the “greatest threat” to national security in 1969, Ericka Huggins was waking at dawn with fellow Party members to prepare free breakfasts for local children. When the political organization was founded in 1966 to challenge police violence, racism and poverty, the government and media were quick to classify the group as violent and aggressive. That portrayal ignored the Party’s survival programs that provided clothing, medical services and other resources to their Black, brown and Indigenous communities — programs often led by women.\u003c/p>\n\u003cp>[aside label=\"Related Stories\" postID=\"news_11873838,arts_13867337\"]More than 50 years later, Huggins and photojournalist Stephen Shames — who was a 19-year-old UC Berkeley student when he got involved with the BPP — aim to bring those women into the light with the release of the photo book \u003cem>Comrade Sisters: Women of the Black Panther Party\u003c/em>, out Oct. 10 (ACC Art Books)\u003cem>.\u003c/em> The book’s national tour kicks off with a half-dozen events in the Bay Area Oct. 9–13, \u003ca href=\"https://www.marcusbooks.com/event/comrade-sisters-women-black-panther-party-book-launch\">including an Oct. 9 talk with renowned activist Angela Davis\u003c/a>, who wrote the book’s foreword, at Marcus Books in Oakland.\u003c/p>\n\u003cp>A dialogue between past and present, \u003cem>Comrade Sisters\u003c/em> juxtaposes more than 100 black-and-white images from the late 1960s with contemporary conversations, featuring interviews with 50 women who were Party members. While women made up over 60% of the Party, their presence remained largely understated in the public eye — until now.\u003c/p>\n\u003cfigure id=\"attachment_13920156\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-1-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13920156\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-1-800x531.jpg\" alt=\"a black and white photo of five African-American people, some in lab coats, standing outside doing a blood draw on one of them, an older woman\" width=\"800\" height=\"531\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-1-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-1-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-1-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-1-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-1-1536x1020.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-1-2048x1360.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-1-1920x1275.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Black Panther Adrienne Humphrey conducting sickle cell anemia testing during Bobby Seale’s campaign for mayor of Oakland in 1973. \u003ccite>(Stephen Shames)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shames’ behind-the-scenes photos document the women of the Black Panther Party in their most vulnerable, powerful, disheartened and joyous moments. In one, a young girl holds up a Black Panther newspaper in a bus terminal, eyes hopeful, as men in uniform carry on walking behind her. In others, women are seen teaching, moving boxes of food, leading marches and smiling for the camera, their dynamism fully on display.\u003c/p>\n\u003cp>“I hope that young girls and their moms and grandmas — and men also — look at the pictures and they’re really inspired to see what a group of women was able to accomplish back then, and to not get discouraged,” says Shames. “That, you know, they can do it again.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In anticipation of the book’s release and tour, Huggins says she looks forward to being in solidarity with old friends and strangers alike — all connected through a broader history and common fight.\u003c/p>\n\u003cfigure id=\"attachment_13920159\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-3-1-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13920159\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-3-1-800x539.jpg\" alt=\"\" width=\"800\" height=\"539\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-3-1-800x539.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-3-1-1020x688.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-3-1-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-3-1-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-3-1-1536x1035.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-3-1-2048x1380.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-3-1-1920x1294.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Black Panther children in a classroom with their teacher, Evon Carter, widow of Alprentice ‘Bunchy’ Carter, at the Intercommunal Youth Institute, the Black Panther school in Oakland, in 1972. \u003ccite>(Stephen Shames)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I think that sisterhood doesn’t necessarily have just to do with the biology of it. It is the connection. We are the family we choose,” says Huggins. “That’s what’s in the underpinning of the word ‘comrade’: a sister or a brother, a people connected in struggle. And what is that struggle? To take something away from people? No — to give agency to people so that they can reclaim their own inner power and the power within their communities.”\u003c/p>\n\u003cp>Looking back on the Black Panthers’ work, says Huggins, “I see why [it was] threatening to people who hold the wealth and the power in a place. But we were not intending to threaten. We just wanted to make a difference.\u003c/p>\n\u003cp>“And so now we’re older, and we can look back at it with great amazement, actually, at how brave we were in the face of so much.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Comrade Sisters: Women of the Black Panther Party’ co-authors Stephen Shames and Ericka Huggins will be joined by book contributor Angela Davis for a discussion and book signing on Sunday, Oct. 9, from 2-4 p.m. at Marcus Books in Oakland. Attendance is free; \u003ca href=\"https://www.marcusbooks.com/event/comrade-sisters-women-black-panther-party-book-launch\">more details here\u003c/a>. A schedule of other events can be \u003ca href=\"https://www.dropbox.com/s/gtenn3uer2tcd9e/CS%20Events%20FINAL.doc?dl=0\">downloaded here\u003c/a>. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"In a new photo book, Black Panther leader Ericka Huggins and photojournalist Stephen Shames capture the work, friendships and bravery of the party's largely unappreciated female members. ","status":"publish","parent":0,"modified":1705006292,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":704},"headData":{"title":"In ‘Comrade Sisters,’ Women of the Black Panther Party Take the Spotlight | KQED","description":"In a new photo book, Black Panther leader Ericka Huggins and photojournalist Stephen Shames capture the work, friendships and bravery of the party's largely unappreciated female members. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","path":"/arts/13920137/in-comrade-sisters-women-of-the-black-panther-party-take-the-spotlight","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>When FBI director J. Edgar Hoover declared the Black Panther Party the “greatest threat” to national security in 1969, Ericka Huggins was waking at dawn with fellow Party members to prepare free breakfasts for local children. When the political organization was founded in 1966 to challenge police violence, racism and poverty, the government and media were quick to classify the group as violent and aggressive. That portrayal ignored the Party’s survival programs that provided clothing, medical services and other resources to their Black, brown and Indigenous communities — programs often led by women.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"label":"Related Stories ","postid":"news_11873838,arts_13867337"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>More than 50 years later, Huggins and photojournalist Stephen Shames — who was a 19-year-old UC Berkeley student when he got involved with the BPP — aim to bring those women into the light with the release of the photo book \u003cem>Comrade Sisters: Women of the Black Panther Party\u003c/em>, out Oct. 10 (ACC Art Books)\u003cem>.\u003c/em> The book’s national tour kicks off with a half-dozen events in the Bay Area Oct. 9–13, \u003ca href=\"https://www.marcusbooks.com/event/comrade-sisters-women-black-panther-party-book-launch\">including an Oct. 9 talk with renowned activist Angela Davis\u003c/a>, who wrote the book’s foreword, at Marcus Books in Oakland.\u003c/p>\n\u003cp>A dialogue between past and present, \u003cem>Comrade Sisters\u003c/em> juxtaposes more than 100 black-and-white images from the late 1960s with contemporary conversations, featuring interviews with 50 women who were Party members. While women made up over 60% of the Party, their presence remained largely understated in the public eye — until now.\u003c/p>\n\u003cfigure id=\"attachment_13920156\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-1-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13920156\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-1-800x531.jpg\" alt=\"a black and white photo of five African-American people, some in lab coats, standing outside doing a blood draw on one of them, an older woman\" width=\"800\" height=\"531\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-1-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-1-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-1-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-1-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-1-1536x1020.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-1-2048x1360.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-1-1920x1275.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Black Panther Adrienne Humphrey conducting sickle cell anemia testing during Bobby Seale’s campaign for mayor of Oakland in 1973. \u003ccite>(Stephen Shames)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shames’ behind-the-scenes photos document the women of the Black Panther Party in their most vulnerable, powerful, disheartened and joyous moments. In one, a young girl holds up a Black Panther newspaper in a bus terminal, eyes hopeful, as men in uniform carry on walking behind her. In others, women are seen teaching, moving boxes of food, leading marches and smiling for the camera, their dynamism fully on display.\u003c/p>\n\u003cp>“I hope that young girls and their moms and grandmas — and men also — look at the pictures and they’re really inspired to see what a group of women was able to accomplish back then, and to not get discouraged,” says Shames. “That, you know, they can do it again.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In anticipation of the book’s release and tour, Huggins says she looks forward to being in solidarity with old friends and strangers alike — all connected through a broader history and common fight.\u003c/p>\n\u003cfigure id=\"attachment_13920159\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-3-1-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13920159\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-3-1-800x539.jpg\" alt=\"\" width=\"800\" height=\"539\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-3-1-800x539.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-3-1-1020x688.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-3-1-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-3-1-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-3-1-1536x1035.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-3-1-2048x1380.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-3-1-1920x1294.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Black Panther children in a classroom with their teacher, Evon Carter, widow of Alprentice ‘Bunchy’ Carter, at the Intercommunal Youth Institute, the Black Panther school in Oakland, in 1972. \u003ccite>(Stephen Shames)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I think that sisterhood doesn’t necessarily have just to do with the biology of it. It is the connection. We are the family we choose,” says Huggins. “That’s what’s in the underpinning of the word ‘comrade’: a sister or a brother, a people connected in struggle. And what is that struggle? To take something away from people? No — to give agency to people so that they can reclaim their own inner power and the power within their communities.”\u003c/p>\n\u003cp>Looking back on the Black Panthers’ work, says Huggins, “I see why [it was] threatening to people who hold the wealth and the power in a place. But we were not intending to threaten. We just wanted to make a difference.\u003c/p>\n\u003cp>“And so now we’re older, and we can look back at it with great amazement, actually, at how brave we were in the face of so much.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Comrade Sisters: Women of the Black Panther Party’ co-authors Stephen Shames and Ericka Huggins will be joined by book contributor Angela Davis for a discussion and book signing on Sunday, Oct. 9, from 2-4 p.m. at Marcus Books in Oakland. Attendance is free; \u003ca href=\"https://www.marcusbooks.com/event/comrade-sisters-women-black-panther-party-book-launch\">more details here\u003c/a>. A schedule of other events can be \u003ca href=\"https://www.dropbox.com/s/gtenn3uer2tcd9e/CS%20Events%20FINAL.doc?dl=0\">downloaded here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13920137/in-comrade-sisters-women-of-the-black-panther-party-take-the-spotlight","authors":["11813"],"programs":["arts_140"],"categories":["arts_1","arts_73","arts_235"],"tags":["arts_4906","arts_17015","arts_6775","arts_1346","arts_928","arts_10342","arts_10278","arts_2640","arts_1334","arts_13030"],"featImg":"arts_13920149","label":"arts_140"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. 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You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg","imageAlt":"KQED MindShift: How We Will Learn","officialWebsiteLink":"/mindshift/","meta":{"site":"news","source":"kqed","order":"2"},"link":"/podcasts/mindshift","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5","npr":"https://www.npr.org/podcasts/464615685/mind-shift-podcast","stitcher":"https://www.stitcher.com/podcast/kqed/stories-teachers-share","spotify":"https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"}},"morning-edition":{"id":"morning-edition","title":"Morning Edition","info":"\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. 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On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg","imageAlt":"On Our Watch from NPR and KQED","officialWebsiteLink":"/podcasts/onourwatch","meta":{"site":"news","source":"kqed","order":"1"},"link":"/podcasts/onourwatch","subscribe":{"apple":"https://podcasts.apple.com/podcast/id1567098962","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw","npr":"https://rpb3r.app.goo.gl/onourwatch","spotify":"https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x","tuneIn":"https://tunein.com/radio/On-Our-Watch-p1436229/","stitcher":"https://www.stitcher.com/show/on-our-watch","rss":"https://feeds.npr.org/510360/podcast.xml"}},"on-the-media":{"id":"on-the-media","title":"On The Media","info":"Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. 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