Coffee: Thirsty Girl Coffee Opens

Text and Photography by Julian Lucas
Published 11/8/2022 9:01 AM PST

A coffee shop is the cornerstone of many cities across the world. Back in the day, coffee shops were always open, day and night. The visually eclectic art adorning the walls, mix-match furniture, and a plethora of teas from all over the world lining the counter with other types of bites, leaving no space for anything else. Where writers could have philosophical conversations, artists could sketch in the quiet corner, and scriptwriters could work on their next feature or short film all at the wee hours of the night.

But that was then and this is now. Most coffee shops are more about coffee, although people still work out of coffee shops, among other topics, conversations are now more about coffee. The origins of the roast, the sustainability, and how some coffee houses are now found to be themed or defined as dessert coffee depending.

I stumbled upon Thirsty Girls Coffee and was pleasantly pleased that yet another coffee shop was added to the list. Thirsty Girl Coffee owner, Deserae Casteneda says it’s a way of expression as she took a deeper dive into coffee after working for other types of coffee shops. Thirsty Girl Coffee is themed, celebrating women, pink in color, and adorned with decorative accents, including a disco ball. On the menu, Latte Girl includes themed drinks such as ‘She’s Perfect,’ ‘She’s Snobby,’She’s Basic’ and more . . .  The menu also includes seasonal favorites such as Pumpkin Chai, Pumpkin Blended, and of course that Pumpkin Latte everyone enjoys during the holidays.

Season One Episode 2: The Defenders of Justice

In this episode, I meet with the Defenders of Justice, a slate of four women candidates for judge for L.A.'s Superior Court. Our conversation was centered on the court system, its history of operation, and how each candidate has maneuvered within this system that has been in place, with few changes, for a very long time. In this conversation, each candidate described how they plan to work to change the court system for the better. All were united in their desire to reduce the revolving door of imprisonment and incarceration.

HOLLY HANCOCK
OFFICE 70
hancock4judge.com

ELIZABETH LASHLEY-HAYNES
OFFICE 67
www.lashley-haynesforjudge2022.com

CAROLYN "JIYOUNG" PARK
OFFICE 118
www.parkforjudge2022.com

ANNA REITANO
OFFICE 60
www.reitanoforjudge.com

The Defenders of Justice: thedefendersofjustice2022.com I
nstagram: @tdoj2022
Facebook: TDOJ2022

LA County Superior Court: lacourt.org

Indigenous Day 2022: Freedom Fighter and Resistance Leader Hatuey

By Pamela Nagler
Published 10/11/2022 6:00 Am PST

October 11 is Columbus Day or Indigenous People's Day depending on where you live and what your perspective is. To say the least, celebrating Columbus these days can be a very complicated business. Too many people have read his journals and studied the history, too many people have examined the meaning of discovery, to fall into those old tired tropes of Columbus hero worship. Columbus statues have been removed in Chicago, Mexico, NYC, Boston, Baltimore and many other places including LA. 

Suffice to say, there remains much to deconstruct about Columbus landing on the island he called Hispaniola (present-day Dominican Republic) where he and his men proceeded to massacre and subjugate the Taino - all by his own admission. 

But Columbus’ sphere of influence was vast. Even in his own time, the Spaniards extended their reign of terror beyond Hispaniola to include other islands Columbus misnamed the West Indies, the present-day Caribbean Islands. 

When potential landowner who later became a Dominican Father, Bartolomé de las Casas arrived on the islands, in 1509, Las Casas explained how Columbus influence other Spaniards who “perpetrated the same outrages and committed the same crimes as before, devising yet further refinements of cruelty, murdering the native people, burning and roasting them alive, throwing them to wild dogs and then oppressing, tormenting and plaguing them with toil down the mines and elsewhere.” 26, penguin 

And, in 1511, when the Spaniards invaded Cuba, the story was really no different from the earlier stories on other islands, except for maybe, one singular figure emerged - Hatuey, a leader of Native resistance.

Earlier, Hatuey, a cacique or leader had fled his homeland of Hispaniola, arriving in Cuba with canoes holding 400 of his people. Las Casas reported that Hatuey warned the people of Cuba:

“we have to throw them [the Spaniards] into the sea . . .They tell us, these tyrants, that they adore a God of peace and equality, and yet they usurp our land and make us their slaves. They speak to us of an immortal soul and of their eternal rewards and punishments, and yet they rob our belongings, seduce our women, violate our daughters. Incapable of matching us in valor, these cowards cover themselves with iron that our weapons cannot break.” 28, penguin

Hatuey and his people battled against the Spanish, but the Spanish managed to capture him. Before tying him to a stake and burning him alive, the Franciscan Father preached to him about the everlasting life and the consequence of Hell if he did not accept the Christian God. Hatuey, in turn, asked the Father if Spaniards went to heaven. Las Casas reported:

“When the reply came that good ones do, he [Hatuey] retorted, without need to further reflection, that, if that was the case, then he chose to go to Hell to ensure that he would never again have to clap eyes on those cruel brutes.” 28-9, penguin

After Hatuey’s execution, the Spaniards continued to massacre large settlements of Cuban Natives - the Arawaks. Of those that they did not enslave or murder, some attempted to flee, but others chose death by suicide: “Men and women hanged themselves and even strung up their children.” 30, penguin They saw this as an alternative to being tortured or worked to death.

Children, without their parents, died of starvation. The Spaniards pursued those who ran away, until Las Casas noted that the “whole of the island [of Cuba] was devastated and depopulated . . . transformed . . . into one vast, barren wasteland.” 30, penguin

Present-day Cubans are forthright about their colonial history. A bust of Hatuey sits in front of the oldest Church in Baracoa, in the main town square of the first city the Spanish colonized. Some tour guides will tell you that the nearby Yumurí River, lined on each side by sheer limestone cliffs, means ‘beautiful river,’ but others will tell you that Yumurí means ‘I kill myself’ because this is where the Arawaks threw themselves off of the ten-story drop-offs to escape the oppressions of the Spanish. The coffee plantations on Cuba display the chains, shackles and goads next to the excavated farm implements at ground level, just downstairs from the colonists’ former opulent dwellings upstairs.


REFERECES

Casas, Bartolomé de las. Nigel Griffin, trans., Anthony Pagden, intro. A Short Account of the Destruction of the Indies. 1st Edition. London: Penguin, 1999. pages 26-30. 

L.A. TACO INTERVIEWS D.A. GEORGE GASCÓN: HERE ARE 8 THINGS WE LEARN

Interview by Lexis-Olivier Ray
Published August 31, 2022 7:30am PST

This article was produced by LA TACO which is an award-winning publication that reports from Los Angeles on food and touches on the deeper elements around food such as social justice, representation, and immigration. The Pomonan is co-publishing this article.

L.A. TACO’s Lexis-Olivier Ray sat down for a conversation with Los Angeles District Attorney George Gascón at L.A. TACO Studios the morning after a second attempt to force him into a recall election failed.

The 68-minute interview is now live on YouTube (and posted below) for you to watch what Gascón called his “most grueling interview yet” in a discussion that spans the deadly Windsor Hills car crash, the murder of Jacqueline Avant, the police shootings of Ryan Twyman and Andres Guardado, local recall efforts, the media, and, naturally, his favorite tacos, among many subjects.

Here are a just few of the many things we learned while speaking with Gascón:

  • He’s an L.A. TACO fan, telling Ray he reads a lot of the journalist’s own coverage.

  • He sees the costly and mendacious recall attempt as part of right-wing activists’ broader movement to deny and/or election results across the country. And doesn’t see it ending here.

  • After years as a high-ranking police officer and chief-of-police, he believes he has a strong ability to “generally tell good police from bad police” and also recognizes the fear caused by increasingly dangerous environments they’re working in, as well as the results of that fear.

  • Gascón says he expects his office will decide whether or not to charge the Los Angeles Sheriff’s Deputies that killed Andres Guardado, more than two years ago, before the end of this year.

  • Gascón updated us on the case of Jermaine Petit case, the 39-year-old shot by LAPD officers in Leimert Park last month while holding an auto part that officers allegedly confused for a firearm. After the shooting, LAPD pursued weapons charges against Petit. And as of August 16, LAPD hadn’t presented a case to his office.

  • “It’s extremely difficult” to hold bad cops accountable and prosecute them within the current complex system despite ongoing efforts.

  • He can put down 15-20 tacos al pastor in one sitting (!).

 

  • Despite saying this was one of the most grueling Q & A’s he’s ever sat for, Gascón suggested we do an interview “every 90 days” going forward.


Links

Lexis-Olivier Ray, is a staff investigative reporter on housing, justice and culture for L.A. TACO.

L.A. TACO is a platform for the city of Los Angeles. We are a source of news and information covering food, culture, and community in the metropolitan area. We are independently owned and operated, by L.A. and for L.A. In our mission, we aim to bring raw and street-level journalism from all corners of L.A. county to our loyal readers, supporters, and members, and partners who share our passion for Los Angeles.

Interspecies Assemblage: The San Gabriel Valley through the lens of Jesús Romo

“Riding the River”

Text by Daniel Talamantes
Photography by Jesús Romo
Published 6/22/2022 6am PST

This essay was produced by Boom California, a publication dedicated to inspiring lively and significant conversations about the vital social and cultural issues of our time in California and the world beyond…. The Pomonan is Co-Publishing this Essay

Taking Shape of the River

“In it, you realize the river has no shape,” reflects Jesús Romo on his photo, “Riding in the River.” The photo depicts a pair of vaqueros wading through a tributary in Whittier Narrows. Above the horses’ cannon, water splashes above their knees, infusing motion in the still. Twilight eclipses a vaquero’s greeting hand and sombrero as his riding partner advances toward us—or is he following Jesús Romo? Ripples, ephemera, trace the contours of Jesús Romo’s ghost in the water, out of frame as he puts the scene in focus. The patina of ordered ripples contrasts with the shoreline brush of shadowy chaos.

“Riding in the River,” though taken recently, feels like it belongs in another place and time. The photo conjures modalities in movement, of diaspora, and an environmental legacy that were once ubiquitous in the region, but now reduced to a rare and confined natural space. Wilderness and vaqueros elicit a pathos or melancholic reflection of what could have been. While the photo may hint toward a better depiction of the San Gabriel Valley’s natural setting, it does not necessarily portray the accurate social history of Mexican and Latinx communities. Still, it shows how vaqueros or vaqueras have gained success in claiming public space and reclaiming Mexican presence in the San Gabriel Valley.

What remains of Whittier Narrows is only a hint of what the region used to be. As David Reid in East of East: The Making of Greater El Monte writes, “[Whittier Narrows] ensured the survival of some 400 acres of forest, lakes, trails, lawns, and soccer fields… preserved a link to the Whittier Narrows area’s history and to the natural world… and offers the first taste of the natural world to many locals.”1 Always under threat of development, Whittier Narrows, cleaved and siloed by the 60 freeway, 605 freeway, and Rosemead Boulevard remains a site of natural wonder, preservation, and recreation for the surrounding communities of Avocado Heights, El Monte, South El Monte, and La Puente, among others.

“Riding in the Narrows”

The oneiric quality of Whittier Narrows is troubled by the waking reality of the Whittier Narrow Dam. Despite community efforts to preserve Whittier Narrows by relocating the dam further down the river, the dam ultimately punctuates the city and county’s priority for energy extraction and management. But there’s a great irony here: the county’s erection of the dam had arguably secured Whittier Narrow’s survival. This is an important consideration. It evinces this space as an example of a contested site of culture and power. The dam becomes a veritable metonym for the industrial and settler control and extraction of diaspora’s flow. Just beyond the frame, a titanic urban landscape lurks. It encroaches. Matrices of roads and freeways, telephone wires, and pipes fasten to strangulate the veritable island of wilderness. Waste facilities, manufacturing plants, and distribution centers leech pollutants into streams and soil. The air over it so thick of smog can be noisome of sulfur, ammonia, rubber, or other strands of toxic fumes.

“Trail ride with Esteban and company”

In winter, without any other form of access or way bridge neighboring communities, Jesús Romo explains that the tributaries are the only passable trails connecting this natural corridor to his community of Avocado Heights, until they are too deep to traverse. Auto industries, waste facilities, and housing developments converted a rich agricultural and natural landscape into grids of pavement, fences, pipes, and wires. Avocado Heights, among many surrounding communities, became what city planner scholar William Fulton refers to as the “suburbs of extraction” where Latinx individuals, despite attaining political power, struggle in economic scarcity to find resources and fund public services.2 Furthering this, scholar Laura R. Barraclough writes in Charros: How Mexican Cowboys are Remapping Race and American Identity, suburbs of extraction like the many in San Gabriel Valley, “[find] themselves empty-handed, with few strategies available beyond luring businesses such as casinos, pawn shops, and scrap metal recycling yards—all of which…extract any remaining wealth from already-disinvested sources.”3

“Employee at feed store near Sports Arena”

Situated between the Puente Hills, California canyons and Whittier Narrows, Avocado Heights is an unincorporated neighborhood east of the 605 freeway and just north of the San Jose Creek which feeds into the San Gabriel River. The town’s population remains approximately fifteen thousand people, yet it is surrounded by much larger cities such as City of Industry, La Puente, El Monte, South El Monte, and adjacent to a constellation of other unincorporated communities such as Bassett and North Whittier. A distinct feature of Avocado Heights is its designation as an equestrian district which traces its legacy to the vaqueros of early Californio’s and Mexico—of which hold a vast majority of the demographics. And while Avocado Heights has a prominent identity and agency of its own, its characteristics are as interpretable as the river.

“Rancho Jimenez”

“Mis tíos”

Wading through the river, vaqueros interact with assemblages of making and being. Contested sites, specific histories, and cultural exchanges emerge and submerge in expression of power and resistance. Though we can abstract histories and narrative from the photo, “Riding in the River” is material. The photograph is now a part of Whittier Narrows’ ecology. It is a fragment of the location, both as a living portal and as artifact. It would not exist if not for its historical contingency. Despite attempts at cultural erasure or despite the elision from regional, state, or national narratives, Avocado Heights is immutable. Photographs expose. They are taken, putting moments, people, and places into focus.

“Colitas”

“Community desfile”

“la paseada patron saint festival in Avocado Heights”

“Community desfile” and “la paseada patron saint festival AH style” are celebrations of the patron saint festival, La Paseada. Celebrated in Avocado Heights annually, this is the second biggest event in Avocado Heights Park after the Easter celebration. Romo says, “Starting a few years ago after a group of different families in the area formed an association to raise money and connect with their loved ones back home by several individuals who were undocumented and unable to visit their home communities.” The organizers of the event originate from Las Palmas, Jalisco and like most patron saint festivals, these are religious celebrations that coincide with the whole community having the week off.

The celebration in Las Palmas is known for having a large cabalgata (cavalcade) to inaugurate the event, Romo continues, “Given that this is horse country, we all join in their festivities in the Avocado Heights version as if we are there in Las Palmas for the week.” Along with the tamborazo, a reina (queen) usually carries the American and Mexican flag while following an altar containing the patron saint. The Independence celebrations in Yahualica, Jalisco are on September 16, 2016. The celebrations in Avocado Heights and among the equestrian community, at times, closely resemble the celebrations in Mexico.

“Industry Expo feria de caballo español”

It is not uncommon for the escaramuzas and charros of the San Gabriel Valley to compete with some frequency down in Mexico, or to attend an annual coleadero at their ranch, and then to come back to the US and give an update to their family and group of friends about the latest community gossip, who’s the leading equestrian athlete, and what musical group headlined the event. For being a relatively small neighborhood, Avocado Heights epitomizes in many ways this unique bilateral relationship with Mexico. These are not relationships that exist because parents grew up in a particular place, but rather, these are relationships that are constantly reinforced by the consistent back and forth travel that occurs for recurring events, such as the patron saint festivals, or the patriotic independence celebrations.

“Privadita”

“Filming a music video”

“Horse Parade in Jalisco”

On September 16, 2016, in the city streets of Yahualica, Jalisco, Romo joins a cabalgata underway. The vaquera centered in the photo is named Nadia. And while she doesn’t announce her sexuality publicly, she is widely known in the horse community for being a prominent fixture at horse events and is often seen accompanied by her partner. Romo explains, “After marching on horseback in the parade, Nadia hired the banda and it was myself and one other escaramuza, kind of a protege of Nadia’s, who joined her for an impromptu parade once again throughout the town.” Nadia was not dressed in the typical escaramuza outfit, but rather a charro outfit. “She triumphantly led us on a long-winded post-march route with a loaded gun in her holster. It was a very public and triumphant display and I just had to document the photo.”

In Nadia’s story we have a unique exposure to the dimensions of gender embodiment and representation. She is both a leader and yet presents herself in traditional charro outfits. Likewise, her partnership, according to Romo, remains a discretionary fact. It is no doubt the case that vaquero culture celebrates and predominantly masculine traits. Yet, it is and historically has been a space and identity that has opened gender fluidity and resistance. Across the United States and in Mexico, vaquerx spaces foster hetero-, homo-, and transsexual performance. Massive conventions occur every year in cities including Los Angeles, Las Vegas, Dallas, and Mexico City which host queer reuniones vaqueros. The events feature live performance combined with regional Mexican food, drink, music, and dancing. Though these conventions are unique, they also amplify the reality of the vaquero/a/x everyday—one very present in Avocado Heights. Romo, who established his ranch in Avocado Heights as a queer space for artists and vaquerx, disrupts masculinized narrative in his photographs’ style and through his positionality.

Historian Susan Stryker argued that gender representation is analogous to a digital image. She writes, “It’s unclear exactly how [a digital image] is related to the world of physical objects. It doesn’t point to some ‘real’ thing… it might in fact be a complete fabrication built up pixel by pixel or bit by bit—but a fabrication that nevertheless exists as an image or a sound as real as any other.” Like the digital image, gender is a construction, not a material fact. Pixel by pixel, bit by bit, the bodily stylings through clothing and accessories, a person’s behaviors and interactions, their movements, dancing, songs, vocal utterances, and expressions add up to the mix of gender, sexuality, class, race, ethnicity, and nationality identifications present in vaquerx lifestyles.

Away from the recursive performance of male bodies in vaquero spaces, Romo shares that out on the trails, men transcend typical male behaviors and share intimate details and stories about their lives with each other over bonfires. They exhibit acts of care, play, and bonding that transgress traditional male roles. Heteronormative behavior characteristics are often found to be more fluid where the binary gender model of nuclear family orientation is out of the picture. Men and women ride together in the desfile around the central park of Avocado Heights to show off their horses, socialize, and play. Performative gender hierarchies, though present here in there, are most often ambiguous and indeterminable within these events or settings. Vaquero/a/x practices can disrupt imposed binaries and essentialist notions through endless re-imaginings of sexuality models/gender models, white/brown bodies, and middle class/working class lives. Vaquero/a/x performance digitizes and decolonizes the body. Like music, it blends and flows in measures and meter imperceptibly.

“Towards the San Jose Creek River Trail”

“Ranch in Avocado Heights”

Horses become the witness of human behavior. Witnessing their play, love, and connection, exists an entire irreducible lifeworld. The horse, the viewer from vantage of horse, is immersed. They can grasp a sense of the embodied experience but are always in some way dispositioned. One can lament the separation, but the degrees of connection and distance are innate in every interaction, whether that is by photograph or in embracing a partner for the dance. The interaction between man and animal exposes gestural language. In behaviors between animal and human, or photographer and researcher, or dance partners are modes of interaction, coding and decoding practices, and unconscious and conscious choices.

In “The Vaquero Way” a horse trainer, Sheila Varian explains, “The Vaquero method of training is a beautiful song sung with the softness and beauty of the rhythm of the horse. It is about the total harmony and togetherness of horse and rider.”7 The process of becoming a vaquero often begins at an early age. Training involves more than the act of breaking or taming a horse, but developing a mutual relationship, a partnership with another being grown from mutual respect. The best horses are trained over varied terrain and can navigate their surroundings through experiential learning. Feeling and unity with the horse comprise the methodology.

“Pajaretes”

“Recycled wood chips”

Like a photographer and their subject, or a historian and a past culture, animals and human beings train together to become “available to events.”8 French ethologist Jean-Claude Barrey’s analysis of a phenomenon called isopraxis. To him, isopraxis articulates the “unintentional movements” of muscles that fire and contract in both horse and human at the exact same time.

“Talented riders behave and move like horses… Human bodies have been transformed by and into a horse’s body. Who influences and who is influenced, in this story, are questions that can no longer receive a clear answer. Both, human and horse, are cause and effect of each other’s movements. Both induce and are induced, affect and are affected. Both embody each other’s mind.”9

Animals and humans, like material and their environments become response-able. The interface reveals that between space and place, signifier and significant, forms lose distinction. Through iterations, intention, and idiosyncratic relations, emergent patterns evince rich cultural understandings.

“Herrero”

The complex, interactive relations described between Avocado Heights’ connection with horses, their fellowship of other riders, how the vaqueros/as become innate stewards of the land, and how this connection ties history to the present situates humans, nature, and horses are central actors in the story. As anthropologist Anna Tsing invokes, “Species interdependence is a well-known fact— except when it comes to humans. Human exceptionalism blinds us.”10 No matter the cultural variety available, many believe humanity, the biological human, is a constant. Instead, from molecule to ecosystem, humans reshape as they are reshaped. In considering the domestications that closely knots humans with horses and all other organisms, Tsing asks, “What if we imagined a human nature that shifted historically together with varied webs of interspecies dependence?”11 She and Haraway submit that humanity is an interspecies relationship. It is more than us. It is more than human.

With the connection to the horses, the specific natural history of the San Gabriel Valley, and continual exploitation of the community’s health, Jesús Romo’s photographs convey that we are indelibly intertwined with our environment. Our subject of human nature and what is natural has historically excluded, or marginally considered, nature as a critical element of culture and society. Human behavior is a part of natural processes and never exempt from them. Everything from viruses, evolution, mycelium, deforestation, drought, food systems, tectonic shifts, to cosmic events are essential explanations for behavior. Environmental racism through development discourse is not just material but epistemic violence. Between fact-retrieval through the modalities of linguistic conventions, embodiment and space, or nature, these are “exposures” which emancipate past stories, events, places, things, and people from the rigor of hegemonic, settler, colonial regimes. As each modality can lead one down a lifetime of research for just one subject alone, the researcher alone depends on this collaboration to make something of the findings. The intention of the project and the responsibility of its representation are most important.

Photographs, when not outright exploitative practices, almost ensure a type of embodiment or positionality less credible in alternative medias. Jesús Romo’s positionality, affiliation, and agency inspire an even greater trust in the content and intentionality in representation. Jesús Romo ’s photographs are exposures of interspecies assemblage of the San Gabriel Valley.


Notes

[1] David Reid, “Whittier Narrows Park,” East of East: The Making of Greater El Monte, edited by Romeo Guzman, Caribbean Fragoza, et al. Rutgers, 2020. 191

[2] Barraclough, Laura R. Charros: How Mexican Cowboys Are Remapping Race and American Identity, 1st ed.. University of California Press, 2019. 164

[3] Barraclough, Charros, 159

[4] Kara L. Stewart. ”The Vaquero Way.” Horse Illustrated. November 16, 2004

[5] Donna Haraway. When Species Meet. Minneapolis: Minnesota University Press, 2008.

[6] Vinciane Despret. ”The Body We Care For: Figures of Anthropo-zoo-genesis.” Body & Society. Vol. 10(2–3): 111–134. DOI: 10.1177/1357034X04042938

[7] Tsing, Anna Lowenhaupt. Friction: an Ethnography of Global Connection. Princeton, N.J.: Princeton University Press, 2005. [1] Ibid.


Daniel Talamantes is a writer from the Central Valley of California. He is working toward a doctorate at Claremont Graduate University currently as an environmental historian, ethnographer, and environmental justice activist. Essays, short stories, and poems of his have been published with Entropy, Elderly, SF Chronicle, Soft Punk, to name a few. His first poetry chapbook Ruminate Emergent was the winner of the Desert Pavilion Chapbook Series and set to be published Fall 2022. 

Jesús Romo is an activist, photographer, and resident of Avocado Heights. You can find him on the trails and fighting for clean air, water, and land with and for SGV residents.

Boom California is a free refereed online media publication dedicated to inspiring lively and significant conversations about the vital social and cultural issues of our time in California and the world beyond. It aims to be the place where the most serious discussions are happening about the world in California and California in the world. To do this we host academic conversations in the forms of peer reviewed articles that both highlight and advance scholarly discourse about California culture, and do so in a manner that is public-facing and oriented toward the social and practical concerns of ordinary Californians.

Echo Parks' Sunset Blvd is Becoming a Mecca of Culture

‘Park on the Dance Floor’ is Shaping the Echo Park District of Los Angeles into Something Special.

By Julian Lucas
Published 6am PST

Echo Park — Last weekend was more than a cruise night, more than a usual exhibition on a Saturday evening, and much more than just a party. It was a celebration of culture and people coming together on their terms, without any influential interference. 

The setting - the streets and sidewalks of Sunset Blvd. The music came both directions, north Sunset, mostly the Cumbias blaring from Género Neutral, and south, you could hear either 80s Funk and even old school Banda. In either direction I found myself bobbing my head and even busting a small OG two-step to George Clinton’s ‘Atomic Dog’ and trying to spin to Banda Zeta’s ‘La Nina Fresa’. Either way, everyone participated in some type of body movement because it was just that perfect. 

The celebration was organized by Classico Tattoo in partnership with Paisa Boys, Género Neutral, low boy, Pure Beauty, 444, Liquid Death Mountain Water, Air Nandez, and California Cowboys Collective. All involved are trend-setting, offering a new fresh way of celebrating the way we socialize. 

PEEP THE RECAP - PHOTOGRAPHY BY JULIAN LUCAS...... EVEN THE BLURRY IMAGES

Never Have I Ever Season 3

Courtesy of Netflix

By Jeong
Published 8/16/2022 7:30am PST

Warning: Some episode one spoilers!

Watching Never Have I Ever feels like injecting yourself into every American teen rom-com of the late 90s/early 2000s at once. Over the past two seasons, the series has taken us through the most quintessential teen movie tropes: the nerd crushing on the popular kid, the goal of losing your virginity before college, and, of course, disobeying your parents. Through the eyes of Devi Vishuwakumar, an Indian American teen girl growing up in Sherman Oaks, these familiar motifs feel fresh and exciting. We’ve both heard her story a thousand times and never heard it before. Unlike other retellings of Americana, Mindy Kaling expertly generates nostalgia without rewriting history - instead, making it. It’s not revisionary; it’s subtly revolutionary.

What’s invigorating about Never Have I Ever is that the series focuses on an Asian American teen girl for the first time since Margaret Cho’s 1994 sitcom All-American Girl, which was the very first to do so. Cho’s series, too ahead of its time, got canceled after a single season. Therefore, NHIE  is also the longest-running television series about an Asian American teen girl of all time.

With Mindy Kaling, the queen of romantic comedy, at the helm, the show corrects outdated depictions of suburban American teenagehood to more accurately reflect our diverse reality, and reassures Asian American girls that they deserve to be front and center too, even if they don’t look or dance like Jennie or Jisoo.

Season three opens with the triumphant in-school debut of “Daxton,” cemented in last season’s finale when Paxton surprises Devi by showing up at the school dance and finally officially declaring himself her boyfriend, after initially turning down her invitation. Naturally, they’re the talk of the town, even gracing the school gossip Lady Whistleboy’s social media updates as the “latest odd couple at Sherman Oaks High.”

As adults predict but teens don’t expect, dating the hottest boy at school does not fill our beloved, nerdy antihero Devi with confidence, and she struggles to navigate her newfound social status.

Meanwhile, her best friends Eleanor and Fabiola are tending the flames of their own hearts. Eleanor is now romantically involved with Paxton’s best friend Trent, and Fabiola continues her exploration of lesbian romance. Aneesa and Ben are still dating, but their relationship is strained due to Ben being, well, himself.

Back at home, Devi’s paternal grandmother has moved in, cousin Kamala is pondering the future that she sees with Prashant, and Dr. Vishwakumar attempts to expand her circle of friends.

Never Have I Ever gives space for Asian American girls to exist, explore, and express this experience. It reaffirms what we have known all along: we deserve a seat at the table too. Like many Millennial femmes of color in the suburbs, I grew up consuming American cinema and noted a distinct lack of my presence reflected in media culture. As an Asian American then, I was absent from Hollywood’s high school landscapes. And perhaps because I was transracially adopted into a white family, I didn’t think of this as wrong or unfair. But what I understood from this was that joy, romance, and playing the main character was not meant for people like me. And neither was frivolity or bliss. Yet I yearned to occupy joyful, romantic, frivolous, blissful, and expansive space.

But even as I type this, I am aware of the irony. Even our (women of color’s) teen rom-coms depict racism and grief. If art reflects life, then it is only natural for our stories to include these things. We must swiftly learn how to transcend grief, how to transmute pain into joy, and how to heal “better than new.” And maybe that’s why hearing from us is so damn important.

Jeong (Lynn Stransky) is a Korean American artist and activist based in Los Angeles. An interracial adoptee, she explores how racial identity and perceived ethnographies shape our collective consciousness and intersect with our innate human desire for belonging through her work.

Harriet Tubman Was An Abolitionist In Case You Forgot

Benjamin F. Powelson,
Auburn, N.Y. 1823-1885
Courtesy of Library of Congress

By Julian Lucas
Published 8/15/2022 6am PST
Updated 8/15/2022 6:30pm PST

“Defund the Police” might be a phrase that ‘pisses’ many of you off, but if Harriet Tubman were alive today she would be a police abolitionist. She would be a prison abolitionist. She wouldn’t call the police for help because she would understand their goal is to arrest and incarcerate. Being born into slavery, she understood what is was like being held in captivity. Furthermore, we should all know, or at least should understand, that our modern-day police originated from slave patrols.

Harriet Tubman would understand who is disproportionately arrested and incarcerated in the US.

If Harriet Tubman had been alive during the Great Migration, she would have been guiding 6 million Black people from the rural south to the urban north to escape Jim Crow laws and the formation and rise of the Klu Klux Klan. She would have helped guide my father’s family out of Greenville, Mississippi to the south side of Chicago.

If Harriet Tubman were alive during the Great Depression, she would have fought for including Black people in the New Deal because we all should realize, by now,  that Black people were left out. Harriet Tubman would have helped my grandmother Mattie, my aunt Sis, and my great-aunt Minnie obtain social security benefits, unemployment insurance, and federally-insured subsidized loans. Instead, those so-called ‘government handouts’ were often only issued to White Americans. 98% of the subsidized loans were issued to Whites so that they could move away from Black people to create the suburbs in places like Pomona and Covina, California or Park Forest, Illinois. 

If Harriet Tubman were alive right after WW2, she would have helped my father, Thomas Lucas known to his peers as Be-Bop among other aliases depending on the setting. Harriet would have also helped over one million other Black GIs, receive their benefits from the GI Bill - benefits that would have given them a ‘leg up’ on obtaining college degrees and housing. If the GI bill had been made available to the Blacks as promised, it would have helped them enter the American middle class. My father, a US veteran, wouldn’t have had to run underground gambling joints and work in bowling alleys fixing the bowling machines if he had the same opportunities extended to him as were extended to his white peers.

If Harriet Tubman would have been alive during the Civil Rights years, she would have supported Malcom X. She understood that while Martin wanted to integrate, Malcolm knew that the fundamental problem was that the Black communities lacked the resources of the White communities. 

Harriet Tubman understood all this because she had received only $200 for her three years of service in the Civil War, under Abraham Lincoln. Harriet was no fool and wasn’t going to settle for less. She spent the next three decades seeking the additional compensation she deserved. During the late 1890s, she submitted her affidavit to Congress explaining her request for payment of an additional $1800 as the proper compensation for her military service commensurate with what her white peers received. She understood there was a significant gap in pay between Whites and Blacks - a gap that exists today. 

Harriet carried a pistol and a sword during her missions to free slaves just as Malcolm felt it was necessary to guard himself and his family with a rifle. 

If Harriet Tubman had been alive, Malcolm and Martin wouldn’t have died violent deaths by gunshot but would have been laid to rest peacefully of natural causes. If Harriet Tubman were alive during the War on Drugs era, she would have saved my cousins, Alvin, Kenny, and Kylie, including the millions of Black lives that were lost to the system and to early graves. Harriet understood that both business and the government benefit from prison labor, and she would have also understood the school-to-prison pipeline and how it systemically targets Black and Brown youth. If Harriet Tubman were alive today, she would have done more than kneel in protest alongside Colin Kaepernick, or march in a Black Lives Matter Protest. She knew well the injustices - the killing of Blacks at the hands of the Police and the overrepresentation of Black people in the prisons. I know this because she said, “Every time I saw a white man I was afraid of being carried away.” Harriet’s statement reminds me of the time in my life when I was a Black youth growing up in a predominantly White city being constantly harassed by police.

So when people get upset over the phrase “Defund the Police!” - remember that Harriet Tubman would have been fighting the whole time to abolish the police and prisons because let’s not forget, Tubman was an abolitionist. 

According to the US Bureau of Justice Statistics, Whites make up 76% of the population, but only 69% of the arrests, while Blacks, who make up 14% of the population, constitute 27% of the arrests. Furthermore, Black U.S. residents (465 per 100,000 persons) were incarcerated at 3.5 times the rate of white US residents (133 per 100,000 persons) at midyear 2020.

LINKS
FBI Crime Report 2019
Jail Inmates 2020
How the GI Bill’s Promise Was Denied to A Million Black WII Veterans
For Black Artists, the Great Migration Is an Unfinished Journey

Julian Lucas, is a photographer, creative strategist, a purveyor of books and writer in training, but mostly a photographer. Julian also works as a housing specialist which, includes linking unhoused veterans to housing.

Dickies Partners with Estevan Oriol Drops Capsule Collection and Celebrates Release Party

The Pomonan News
Published 8/3/2022 7am PST

Estevan Oriol, a well-known photographer who has photographed the Chicano gang life and celebrities such as Robert Dinero and Al Pacino, is currently working with the Dickies brand to capture the essence of the streets.

Estevan Oriol has collaborated with Dickies on a unique capsule collection, which highlights Chicano culture and focuses on LA's Lowriding subculture. The 12-piece collection combines Dickies' classic workplace designs with Oriol's distinctive street edge. It consists mainly of the Indigo Denim Bib Overalls, the Original 874 Twill Work Pants the LA Nights Long Sleeve T-Shirt.

The collection debuted at an exclusive, invitation-only event in Los Angeles, California.


Julian Lucas, is a photographer, creative strategist, and writer in training, but mostly a photographer. Julian also works as a housing specialist which, includes linking unhoused veterans to housing.

A 5-2 Vote is a Victory for Tenants Throughout the City of Pomona

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By Julian Lucas
Published 8/2/2022 6am PST

Pomona — Yesterday evening PUSH Coalition (Pomona United for Stable Housing) and Housing is A Human Right Organization in support of PUSH rallied in front of City Hall for rent stabilization in the city of Pomona. PUSH’s demanded that city council vote to cap rents at 3%. However, council voted in favor of a 4% increase 1 % percent less than the original proposed 5%. During a special meeting last week. Mayor Tim Sandoval mentioned people suffer from trauma, especially the youth of families who struggle pay their rent.

The eviction restriction for the state of California lifted on July 1, last month, after a two year moratorium. Although the moratorium expired, some tenants are protected, without rent increase burden in several counties, including Los Angeles County, but the protections are limited to low-income families.

After the rally, members of both organizations attended last nights city council meeting to weigh in during public comment. The final vote to increase rents resulted in a 4% increase with a 5-2 vote, which goes into effect immediately.

Julian Lucas, is a photographer, creative strategist, and writer in training, but mostly a photographer. Julian also works as a housing specialist which, includes linking unhoused veterans to housing.

Art & Culture Headlines: The City of Escondido and Censorship of Art Installation by Artist Slick; Ignored Black artist Sam Gilliam who was mostly disregarded by the art world's Echelons

Courtesy of Slick

The Pomonan
Published June 28, 2022 7:25p PST

— The City of Escondido and Censorship of Art Installation by Artist Slick [San Diego Union Tribune]


— Ignored Black artist Sam Gilliam who was mostly disregarded by the art world's higher echelons until he became the first Black artist to represent the United States at the Venice Biennale dies at 88
. [New York TImes]


— Images of Colombia's indigenous Kogi inhabitants
[I.D.]

The Pomonan’s weekly art news highlights, where we provide our devoted readers the most latest events in the arts and culture. Keep in touch!

Abortion Rights: Demonstrators Take to the Streets in Protest of SCOTUS Overturning Roe v. Wade

Text and Photography Essay Julian Lucas
Published 11:43am PST

Yesterday the Supreme Court's ruling to overturn Roe v. Wade sparked hundreds of protests cascaded across the United States. In Los Angeles demonstrators took to the streets and shut down a portion of the 110 Fwy temporarily affecting traffic making their way to the 101/10 Fwy east interchange marching eastbound, eventually being met by LAPD in full riot gear. In the later evening, the protest led to multiple arrests after LAPD prompted a tactical response. The protesters faced-off with LAPD in response to police confronting and targeting protesters and journalists.

Roe v. Wade was a 1973 historical decision from the Supreme Court which allowed unrestricted abortion access throughout the country. The ruling's reversal has been questioned since a leaked draft opinion of the Supreme Court's likely judgment in Dobbs v. Jackson Women's Health Organization was released.

Julian Lucas, is a photographer, creative strategist, and writer in training, but mostly a photographer. Julian also works as a housing specialist which, includes linking unhoused veterans to housing.

Art & Culture Headlines: A massive Black Power hair pick was installed to symbolize Black pride and identity; The Cheech Museum

Photography Doug MacCash

The Pomonan
Published June 20, 2022 11:36am PST

— A massive Black Power hair pick was installed to symbolizing Black Pride and Identity; [nola.com]


— Riverside The Cheech Museum makes its debut this past weekend, changing the narrative about art being one-sided; [New York TImes]


— An Interview with Theaster Gates;
[I.D.]


Klein's "tabloid gone berserk" style to street photography in New York is on display at the International Center of Photography; [The New Yorker]


In Fort Worth, the National Juneteenth Museum is beginning to emerge; [New York Times]


The Pomonan’s weekly art news highlights, where we provide our devoted readers the most latest events in the arts and culture. Keep in touch!

Nadia Lee Cohen ' Hello My Name Is’ Jeffrey Deitch Gallery Los Angeles

Courtesy of Jeffrey Deitch
Photography Charles White

By Julian Lucas
Published June 17, 2022 11:37am PST

Los Angeles— British photographer Nadia Lee Cohen opened her first major solo exhibition Hello, My Name Is in the United States.The exhibition was held at none other than Jeffrey Deitch Gallery. Where else, who else would showcase such an exhibition? It's an overview of works from both her monograph, Women (sold out) and her latest book of the same name, displayed with images, sculpture, and film.

Hello My Name Is, immerses you in photographic imagery and never-before-seen footage of the insular world of Cohen’s human subjects - characters  created and played either by Nadia or in collaboration with models who assume different identities.  In the meantime, a conveyor belt brings  a succession of these characters’ personal effects that rotate in and out of the room.

Elsewhere, in a darkened, theater-like area, Cohen takes on each of the character’s parts.  As skewed as her photographs and accompanying films are, Cohen’s hyper-more-than-real art ultimately encourages the viewer to build relationships with the very real persons we see on a daily basis.

HELLO, My Name Is
Jeffrey Deitch Gallery / Los Angeles
Now through August 13 2022

Jeffrey Deitch
925 N Orange Dr,
Los Angeles, CA 90038


Julian Lucas, is a photographer, creative strategist, and writer in training, but mostly a photographer. Julian also works as a housing specialist which, includes linking unhoused veterans to housing.

Artist and Urban Activist Theaster Gates and Adjaye Associates Unveil the Serpentine Pavilion 2022

Black Chapel, the 21st Serpentine Pavilion, designed by Theaster Gates Photography Iwan Baan 2022

The Pomonan
Published 6-07-2022 5:17pm PST

London— The Black Chapel pavilion at the Serpentine Gallery is the 21st of a sequence of pavilions built in Kensington Gardens, Hyde Park, London.

It investigates the link between art, architectural design, and spirituality, according to the designers, in an effort to reconnect London's populous with spiritual environmental experiences. The Black Chapel is a vessel and receptacle for those who desire to assemble.

Gates is the first artist that isn’t an architect to be award the commission, to design and build the pavilion , although it was executed with the help of architect David Adjaye and associates.

The pavilion is a black cylinder design constructed of lightweight wood and materials sourced sustainably. Seven suspended panels within the pavilion pay tribute to Gates' late father's profession as a roofer. A bronze bell salvaged from St. Laurence, a historic Catholic Church on Chicago's South Side, rests at the entryway.

Theaster Gates, a Chicago based artist is known for repurposing buildings and communities with through art. Gates' work focuses on space theory and land development, as well as sculpture and performance. Gates reclaims abandoned sites by drawing on his passion and experience in urban planning and preservation. Projects include but not limited to the Stony Island Arts Bank, Dorchester Art Housing Collaborative, in addition to the Rebuild Foundation.

Gates is also a professor at the University of Chicago in the Visual Arts department. In addition, Gates also serves as the Senior Advisor for Cultural Innovation and Advisor to the Dean. Gates is Director of Artists Initiatives at the Lunder Institute for American Art at Colby College Museum of Art. Gates also was a 2018/2019 Artist-in-Residence at the Getty Research Institute.


The Pomonan is a digital media platform. We seek to develop enlightening material that promotes culture and dialogues through digital strategy and creative concepts - utilizing unique journalism through essay and storytelling.

Print Pomona Art Book Fair’s Inaugural Returned to the Benton Museum After a Two Year Hiatus Due to the Global Issue

By Kevin Green
Published 4-7-2022 10:22Am PST

Visual art book lovers throughout Southern California were able to finally enjoy an art book fair. Print Pomona Art Book Fair took over the city of trees and PhDs last weekend, while other art book fairs and book markets did not open as usually scheduled this year within Los Angeles county. Book lovers were able to travel to East Los Angeles County to Claremont, CA, just on the border of the Inland Empire. There were four days of art books with lectures and book signings included. With the guidance of Justine Bea Bias, the communications and engagement manager at The Benton Museum at Pomona College, hosted its first artists’ book fair, which included zines and other forms of printed materials.

Founder Julian Lucas said, "This is not a reinvention of the wheel - there are book fairs throughout California and across the globe. However, I was able to recognize there was a need and I took initiative to create a platform for independent publishers, zine makers, and print artists right here. - It’s an opportunity to introduce something new, dope, and exciting right here."

Print Pomona Art Book Fair is sponsored by The Arts Area as a fiscal sponsor and has an open submissions call welcoming those who would like to apply for a table. PPABF will also look to expand in other ways by offering other types of book-related

The Inaugural Print Pomona Art Book Fair Will Open in Claremont, CA

The Pomonan
Published March 29,2022 5:50Am PST
Updated 3-31-22 4:49Am PST

Claremont, CA—The Benton Museum at Pomona College will host the inaugural Print Pomona Art Book Fair (PPABF) sponsored by The Arts Area on Saturday, April 2 and Sunday, April 3 at Pomona College’s Edmunds Ballroom in the Smith Campus Center. PPABF will bring up to 50 national and international publishers to the Pomona College campus for the first time, where they will be exhibiting artists’ books, art catalogues, photography monographs, drawings, zines, and other print material. The fair, which is free and open to the public, runs from 11 am to 7 pm on Saturday, April 3, and from 11 am to 5 pm on Sunday, April 3. PPABF steps into the breach left by the LA Art Book Fair, offering LA-area residents the opportunity to engage with avant-garde publishing, book art, and creative expression in print.

“As we all understand there are books about art and photography, but in this case, the book is the art because of how it is designed and constructed. In specific, a photo book is a distinct kind of art, analogous to sculpture, theater, or cinema. As part of a dramatic experience known as a book, the images no longer identifies as a photograph but objects in themselves and are turned into published work of art. So I am in a sense expanding the reach by introducing a new species to this region, founder and Project manager Julian Lucas describes. Julian also co-founded Mirrored Society Bookstore, an online bookstore specializing in artists’ books and zines which was physically nestled in Claremont, CA of 2015.

PPABF officially kicks off at the Benton Museum of Art at Pomona College on Thursday, March 31 a Q&A with the PPABF founder Julian Lucas about all things related to art books, publishing, and organizing the 1st-ever art book fair at the Claremont Colleges and in the region, the Benton will host an artist talk and book signing by internationally celebrated photographer and director—and one of Netflix’s LA OriginalsEstevan Oriol. These two events are also free and open to the public.

How to prevent trafficking and police violence? The answer might surprise you - Decriminalization of sex work

By Elle Stanger
Photography Scot Sothern
Published 02/28/2022 6:15Am PST

There exists a lot of scary media about sex trafficking, and many people are rightfully concerned about adult or child exploitation but don’t know how to help prevent it.

For decades, public health experts and researchers have published recommendations to De-criminalize sex work, and remove laws against consensual adult interactions - as a means of reducing harm and preventing human exploitation.

This answer surprises some people:How? And why not Legalization of sex work instead? 

Full decriminalization of sex work means that adults engaging consensually with other adults are no longer arrestable. Police would have no legal recourse to detain, interrogate, isolate, or arrest streetworkers, immigrants, minors, or any adult working consensually. 

In a decriminalized setting, people who use force, fraud, coercion, fear, or compel minors to engage would be the only ones punishable. 

Low Life Series
Courtesy of Scot Sothern

This answer surprises some people:How? And why not Legalization of sex work instead? 

Full decriminalization of sex work means that adults engaging consensually with other adults are no longer arrestable. Police would have no legal recourse to detain, interrogate, isolate, or arrest streetworkers, immigrants, minors, or any adult working consensually. 

In a decriminalized setting, people who use force, fraud, coercion, fear, or compel minors to engage would be the only ones punishable. 

This would free up resources and make victims of violent crimes more likely to step forward, like Biance Beebe who reported her 2017 client-assault to police in New Zealand, which decriminalized sex work in 2003.

"A uniformed, male police officer, in front of other uniformed officers in the station, said right to my face, 'We don't care what you do for a living. No one is allowed to treat you like that. We just want to catch this guy.' And then all the other officers nodded in agreement. That happened not only because decriminalization removed criminal penalties for sex work in 2003, but also because the change in legislation meant sex work activists have been directly involved in training police on how to respond when we report a sexual assault from a client.” 

Many states in America currently arrest victims of sexual assault if they are also sex-working during their assault. Nineteen states still charge minors with prostitution crimes, though by definition they are victims of trafficking, because they are under eighteen. This prevents people from reporting crimes against them.

Low Life Series
Courtesy of Scot Sothern

New Zealand saw overall positive public health and safety outcomes after their historic Prostitution Reform Act in 2003. Rhode Island saw a decrease in STI transmission and violent assaults when they accidentally decriminalized sex work for a couple decades.

Biance Beebe knows that laws can set precedent for changes in social attitudes and practices,  “I was only willing to report my assault because sex work is decriminalized. I knew I had the right to dictate the terms of my labor, as well as the right to say no and withdraw consent when those terms were not met." 

Why not legalization? 

Legalization of sex work means that government or public officials would create rules for who/what/when/where/why could do sex work without being arrested. This can mean requiring sex workers or clients to acquire permits, licenses, or register formally, which can be dangerous, expensive and require government documentation, money, and transportation. Poor people, street-workers, immigrants, and minors don’t often have these things to furnish.

Romina Rosales is a former survival sex worker who explained to me, “If a person has to provide a SSN and they don't have one, they might have to steal one if it means being able to make money.”

Romina currently teaches harm reduction and coping skills to marginalized sex workers and organizations, and says further, “Without documents to be allowed to work in the USA, undocumented immigrants have tot resort to illegal jobs in the underworld to provide for themselves - some resort to sex work. My parents didn’t know how to navigate America, and they were abusive, so I didn't get my papers until I went to immigration prison when I was 32.”

Under legalization models: plenty of folks won’t qualify as ‘legal workers’ and will still be arrestable, detainable, harassable, vulnerable to police under a legalization model. Currently in the United States, the only people allowed to buy and sell sex legally are folks who can get hired or transport themselves to a few Nevada brothels, in remote, unpopulated areas. 

Romina adds, “Being arrested was horrible and so was everything they did to me in there. Before that time, I was buying fake IDs just to get by and the anxiety of being discovered that I didn’t have papers, and being deported or assaulted by police was horrible.”

Low Life Series
Courtesy of Scot Sothern

Decriminalization of prostituion and sex work laws will encourage victims to come forward without fear of punishment, lower STIs and violence, and re-allocate funds to addressing reported rapes and assaults.

Doug* is a would-be client with a terminal illness, a divorce, and grown children. He spends most days indoors and alone except for his cat and his social media. “I was scrolling through Tinder and matched with a lady - she said she was down to visit me for $300, and I gave her my address. Instead, two men with guns showed up at my door; it was a scam. I called 911 and when police showed up, they lectured me and said I was lucky they weren’t going to charge me with soliciting prostitution.”

Victims of violent crimes are less likely to receive support or justice, if they too are treated like criminals.
Prohibition of alcohol and the War on Drugs criminalized the poorest people, created underground markets and trafficking operations, and ignored people’s consent to their own bodies. Anti-sex work laws do the same. Support decriminalization of prostitution laws, because the wars against sex workers is killing people.



Elle Stanger is an AASECT certified sex educator and longtime adult entertainer, and cochair of Oregon Sex Workers Committee - read their work at ellestanger.com 

Scot Sothern is a photographer and writer known for his documentary work of sex workers and the harsh gritty streets of Los Angeles. Scot seeks out areas that are unpopular or opposite of mainstream society, photographing interesting and unique people. His images are raw, striking, and illuminating, leaving the viewer with evoked emotions.

Remembering Ren Hang 任航 03-30-87 to 02-24-2017

"Untitled" (2015) Credit.Estate of Ren Hang/Blindspot Gallery

Text By Julian Lucas
February 18, 2021 12:49pm PST

This article was Produced by Mirrored Society, A Bookstore on the Arts. The Pomonan is co-publishing this review.

Ren Hang was born in 1987 in North East China’s Jilin. At the young adult age of 20, Ren Hang had been studying advertising but found himself uneasy at his studies. He began using a point-and-shoot camera and taking photos of his friends. “It was because, I was bored of advertising and in specific, I was bored of life.” His work became increasingly noticed, having exhibitions in various cities such as Hong Kong, Athens, Bangkok, New York, Paris,and Los Angeles. Living in Beijing at the time of his death, he was going to turn 30 years old.

Four years has passed since the death of acclaimed art photographer Ren Hang. When visiting Ampersand, an Art Bookstore located in Portland, OR, in 2014. New Love," lying next on the front table in the front window of the storefront, stood out with its not bright white cover enabling the natural color of the nude portrait within nature to pop out of the book. I would often look back about not buying the book at that time after a couple of months had elapsed. The best thing is that I ended up buying the last book in stock.

Ren Hang, "Untitled" (2015) Estate of Ren Hang/Blindspot Gallery

Ren Hang, "Untitled" (2015) Credit.Estate of Ren Hang/Blindspot Gallery

I had the opportunity attend his first exhibition in Los Angeles and and meet and chat a bit about his work in the summer of 2016. The exhibition entitled. “What We Do is Secret”. Ren Hang intuitively created moments audacious power using the nude in the face of censorship and social restraints. Hang's work, called one of today's most controversial photographers, can be considered freely frank, sensitive, stunning, humorous, and gruesome at the same time. Although the public demeanor of Hang underestimates any political meaning in his work, The carefully focused images of Hang might indicate otherwise. Under China's atmosphere of global, cultural and social upheaval, Hang's vision of contemporary youth serves as a clear argument for freedom of speech under all circumstances. While fortunate enough to meet the quiet and shy photographer Ren Hang. After getting Mr. Hang to open up, we spoke a bit about his poetry not really his practice as a photographer. We ended up having the most amusing conversation about his writings.

Ren Hang will always be remembered as one of the most creative photographers of our time.

"Untitled" (2015) Credit.Estate of Ren Hang/Blindspot Gallery

"Untitled" (2015) Credit.Estate of Ren Hang/Blindspot Gallery


Julian Lucas, is fine art photographer, photojournalist, and creative strategist. Julian also works as a housing specialist which, includes linking homeless veterans to housing. Julian has lived in Chicago, Inglewood, Portland, and the suburbs of Los Angeles County including Pomona.

Critique of Zionist Propaganda

By Gilbert Aguirre
Published 2/23/2022 6:00Am PST
Photography Ahmed Abu Hameeda

An email sent to UCR students from the UCR Life email list on May 27, 2021, caught recipient’s attention with the subject heading: Antisemitism then and now. Instead of providing information on antisemitism, an abhorrent form of discrimination which has no place in civil society, the piece intended to conflate anti-Zionism with antisemitism and erase the existence and justified resistance of Palestinian people. This is my critique of the interview of UCR Jewish Studies professor Michael Alexander, and his interviewer Omar Shamout, for the disingenuous framing of critiques of the apartheid, settler-colonial state of Israel as antisemitic. Their discussion can be read here (1).

In the article’s opening lines, anti-Zionists educated on what anti-Zionism and antisemitism are, are made aware that the framing of this article is entirely disingenuous— the working definition of antisemitism in the article comes from the Anti-Defamation League, which classifies antisemitism as being “based on age-old stereotypes and myths that target Jews as a people, their religious practices and beliefs, or the Jewish State of Israel” (2). I will repeat that antisemitism, like all forms of prejudice, is absolutely abhorrent and must be destroyed by any means necessary. However, in framing critiques of Israel as antisemitic, activists fighting for justice in Palestine are silenced, as the Anti-Defamation League’s definition of antisemitism functions to quell dissent of Israel. Shamout proceeds to frame the purpose of his interview with Alexander as a response to “data compiled by the Anti-Defamation League [which] shows an increase in violent attacks, vandalism and harassment of Jews in the U.S., around the world, and online, since fighting broke out between Israel and Gaza’s militant rulers Hamas earlier this month.” So, in analyzing this framing, actual antisemitic attacks are being lumped in with “vandalism and harassment,” keeping in mind that the working definition of antisemitism in Shamout’s piece includes critique of Israel as antisemitic, vandalizing the term “Free Palestine” on a wall, or critiquing Israel on twitter would also qualify as antisemitic. Again, critiquing Israel is not antisemitic, and this framing portrays a fictitious world in which critiques of Israel have the same material impacts on Jewish people as violent hate crimes committed by white supremacists.

Additionally, the data compiled by the ADL reporting an increase in antisemitism is contested. In an analytical article published by Jewish Currents, a magazine committed to leftist Jewish discourse, Mari Cohen questions and analyzes the data and methods that contribute to the ADL’s report. Cohen, like many leftists, is concerned by the weaponizing of anti-Zionism as antisemitism, and her analysis contributes greatly to how the conflation of anti-Zionism with antisemitism contributes to misinformation and skewed data— which the ADL’s report exemplifies (3).

Another part of my critique will include the constant erasure of Palestinian people and Palestine as a sovereign state. In the quotation provided above, Shamout makes his first attempt, through the phrase “fighting broke out between Israel and Gaza’s militant rulers Hamas—“ not Israel and Palestine, not the Israeli Defense Force and Palestinian’s resistance movement, not Israel’s occupying force and the Palestinian resistance; Shamout erases Palestine entirely, as if it were a dirty word. Shamout proceeds in the next paragraph to use the problematic framing that critique of Israel equates to antisemitism to assert, “while hatred toward Jews is sadly nothing new, these incidents are framed against the backdrop of recent Middle East violence, a surge in pro-Palestinian sentiment,” which implies that Palestinian existence is itself a problem. So I ask, what exactly does the term “pro-Palestinian sentiment” imply? What makes “pro-Palestinian sentiment,” in other words defense of Palestinian’s right to exist and resist violence from the state of Israel, support hatred towards Jewish people? Would the international movements and demonstrations against police violence after the murder of George Floyd be considered “pro-Black sentiment”? Why is Palestinian existence framed as a problem?

Shamout almost comes to see that anti-Zionism is separate from antisemitism when he asks Alexander, “Many of the recent antisemitic incidents have used the term ‘Zionism.’ Can you explain what Zionism meant historically, what it means today, and how the term has been used by racists to target jews?” To which Alexander gives a bloated, incoherent response that doesn’t state the clear intentions of Zionism, which is a colonial project whose modern conception was proposed and propagated by Theodor Herzl (4).

Zionism, a political position, is framed by Alexander as, “simply Jewish nationalism: the desire for the Jewish people to have and hold their own state,” ignoring that this political position hinges upon the colonization of Palestine, and the genocide of its native occupants. Alexander seems to support the ethnic cleansing of Palestinians as he states, “Let’s not forget, the logic of self-determination implies the cleansing of everybody else in order to achieve a majority. Cleanse or be cleansed. The logic is stark, but to date it remains the main means by which nation states are formed.” So I ask, how did UCR News allow this violent, genocidal speech to get published to its student body? How can a professor be unashamed of giving a defense of what he himself refers to as “the cleansing of everybody else in order to achieve a majority”?

Shamout, expecting an answer to the question “So it’s fair to say that not all critiques of Zionism should be cast as antisemitic?” receives another bloated, asinine response where Alexander goes to further defend genocide. Alexander proposes a both-sides defense of genocide in his next monologue, again not answering the question, as he states, “Zionism is as legitimate and as problematic as any other nationalism”— to this point I argue that nationalism against an oppressive force is legitimate (5). Nationalism against colonizing forces has been used historically by Cubans proud of their nation’s decolonial revolution, the Irish Republican Army’s resistance against British colonial rule, and Palestinians’ fight against the Israeli government that actively pushes Palestinians out of their homes, murders Palestinian children, and bombs densely populated territories (6).That nationalism is quite separate from nationalism that seeks to oppress another group, and expand the nation’s borders, disregarding human rights and international law— which is precisely what Palestinians have been resisting since the birth of Zionism. Alexander continues, “it is problematic in the sense that having formed an ethnic majority, Israel turns around and polices its remaining minorities.” As a reminder, the minorities Alexander refuses to name are Palestinians. Additionally, the Palestinians Alexander refuses to name have only become minorities as a result of Israeli occupation, a modern project that ironically results in some Palestinians being older than the illegitimate state of Israel. “Nearly all majorities do this. This past year, we all saw once again how the American policing of minorities is no exception. The problem of minorities is systemic and is not particular to Israel or to the U.S. Yet that does not excuse Israel from the need to acknowledge and cease the violence of its nation building.” Although implicitly, excusing is exactly what Alexander is doing. To both-sides and what-about state violence via settler-colonialism and white supremacist policing in both Israel and the United States is a disingenuous deflection that attempts to justify the violence of Israel. Alexander is saying— Yeah, it sucks, but that’s just how it goes. By putting on an apolitical mask, in this case and in any other case, it is very clear that the person engaging in the both-sides / what-about argument is on the side of the oppressor. In the last two sentences of his pro-genocide diatribe, it appears Alexander returns to answer Shamout's question on whether or not all critiques of Zionism equate to antisemitism, I am not sure because Alexander has thus far shown a clear aversion to answering any question directly. He states, “I would say this is the great moral imperative and conundrum of the Jewish people in our time. Still, it is a conundrum that rightly should be admitted and shared by hundreds of nations and national movements.” Again, an asinine non-answer that serves to conflate all Jewish people with the ideology of Zionism, to serve Alexander’s personal political agenda. 


At the interview’s conclusion, Shamout asks Alexander, “what do you think are the best ways to combat antisemitism in our communities, both physical and online?” to which Alexander does not speak to antisemitism, but once again to the prospects and effects of propagating Zionism without consequence. His opening statement to this sentence is, again, incoherent, so I’ve done the work of decoding it. He states, “I would need to expand the purview of the mandate to include the elimination of Islamophobia and the denial of Palestinian rights to a free and self-determined state.” This thirty-one word sentence means almost nothing, but serves to frame the Israeli occupation of Palestine as a religious issue. Contrary to what Alexander is propagating, there are Palestinians of Muslim faith, Christian faith, Jewish faith, and atheists (7)— keep in mind the question Shamout asked concerned how to combat antisemitism, but Alexander’s monologue concerns Zionism. In the following sentence, Alexander reveals his true intentions as he states, “it would also have to include complete civil rights for Palestinians and other minorities who are Israeli citizens.” By granting Palestinians citizenship status, he is finally revealing his agenda as a one state solution Zionist. Under the proposed civil rights, Palestinians won’t have their land, and they would be citizens of the illegitimate state of Israel that imposed itself unto the Palestinian people.

Ultimately, this interview published by UCR News is unacceptable in its disingenuous framing of a human rights issue that affects the lives of real people, and has affected the lives of Palestinian students at UCR. In framing critiques of Zionism as antisemitic, and speaking almost exclusively to Zionism in an interview which is supposedly about antisemitism, Alexander constructs an argument that, within the argument’s fabrication, cannot be critiqued without being antisemitic. Furthermore, the answers Alexander gives are so bloated and incoherent, I don’t understand how he is a professor at UCR, as I’ve had more coherent and substantive conversations with my five year old brother, who would stand firmly against genocide if knowledgable enough to understand it— not provide a both-sides / what-about defense so that his in-group can commit atrocities without critique. To be explicit, my use of “in-group” is not an allusion to an antisemitic conspiracy, but a direct contention of the conflation of critiques of Zionism as antisemitic— a clear and obvious disingenuous framing that uses identity as a shield and weaponizes actual hate towards Jewish people, which has material consequences and thus should not be minimized to serve a political agenda.


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