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Ten shows to see at New England museums this fall

DIALOGUES, DIASPORAS, AND DETOURS THROUGH AFRICA This exhibition comes out of the museum’s Black Art Residency, created by a partnership between the museum and the Boston-based artist-collective WHERE ARE ALL THE BLACK PEOPLE AT (WAATBPA), and is the product of seven artists’ deep, yearlong dive into the museum’s archives and collections. For the project, Archy LaSalle, George Annan, bashexo, Digi Chivetta, Sharon Dunn, Reginald Jackson, and Lou Jones each chose an object from the museum’s African holdings, and crafted a response to share gallery space alongside it. Through Jan. 14. Fitchburg Art Museum, 185 Elm St., Fitchburg. 978-345-4207, fitchburgartmuseum.org.

DIGITAL IRIDESCENCE: JELL-O IN NEW MEDIA Invented in 1897, Jell-o, with all its rubbery, sugary, quivery, animal carcass-derivedweirdness, has been delighting children — and vexing parents — for more than a century. I would never have guessed an exhibition based on its cultural import would be possible, but here we are: At the Museum of Fine Arts, a show of video works by five artists uses its slippery, gelatinous properties “to consider the sanctified social constructs of health, beauty, consumption, metamorphosis, performance, and ritual.” Oct. 28-March 24. Museum of Fine Arts Boston, 465 Huntington Ave. 617-267-9300, www.mfa.org

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Gelare Khoshgozaran, “U.S. Customs Demands to Know,” 2013-ongoing. LED lit packages (corrugated plastic), dimensions variable. Gelare Khoshgozaran/Karen Asher

DAY ONE DNA: 50 YEARS IN HIPHOP CULTURE FROM THE PRIVATE COLLECTION OF ICE T & AFRIKA ISLAM The Cooper Gallery is set to mark this significant cultural milestone with a trove lent by one of the form’s early superstars, the rapper Ice T, and producer Afrika Islam. Comprising music, dance, and visual art, hip-hop might be the most penetrating, popular, and market-dominating cultural force in the world today — or hadn’t you heard break dancing (or breaking) is now an Olympic sport? A look at its roots and indomitable spirit of defiance is an essential element of any examination of American culture. Nov. 3-May 31. The Ethelbert Cooper Gallery of African and African American Art, Hutchins Center for African & African American Research, Harvard University. 102 Mount Auburn St., Cambridge. 617-496-5777, coopergallery.fas.harvard.edu

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LIKE MAGIC A great irony of our moment is that in this world of data-driven certainties, reality has become more difficult to define than ever, and the sophisticated tools given to us by science — by definition, fact-based — have been torqued in realms like social media to ever more distorting effect. Seeking refuge in the hazy realm of spiritual concoction is as old as uncertainty itself, and this show’s 10 artists look for solace with such mystic tools as healing earth, witches’ brooms, divination, and, yes, AI, to name a few. Opening Oct. 29. Massachusetts Museum of Contemporary Art, 1040 Mass MoCA Way, North Adams. 413-662-2111, www.massmoca.org

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MAINE

POPE.L: SMALL CUP A legendary performance artist known for inserting himself unceremoniously in the public sphere — a well-known series had him literally crawl on elbows and knees through the streets of Manhattan — Pope.L has described himself as “a fisherman of social absurdity.” That absurdity has often been the raw material of a strident critique of racial inequity in the US, and has recently made him more visible and relevant than ever: In 2019, New York’s Museum of Modern Art mounted a survey of more than 20 years of his work; concurrently, the Whitney Museum of American Art installed a massive new work, “Choir,” an industrial water tank installed amid a soundscape that evoked Black Americans’ being denied basic access to clean drinking water. “Small Cup,” a homecoming of sorts — the artist was a lecturer at Bates College in nearby Lewiston from 1992 to 2010; he’s now faculty at the University of Chicago — is very much of a piece. In the video of the live 2008 performance, a herd of goats demolishes a small-scale replica of the US Capitol building, an eerie resonance that these days cuts close to the bone. Through Feb. 4. Farnsworth Art Museum, 16 Museum St., Rockland, Maine. 207-596-6457, www.farnsworthmuseum.org

“Mountain Lake in Autumn”, by Susie M. Barstow, 1873, oil on canvas, 20 x 30 inches, private collection.Hawthorne Fine Art, New York, NY

VERMONT

ART AND THE MATTER OF PLACE

A selection of works from the museum’s collection are arrayed within the cozy confines of a gallery furnished as an inviting space for contemplation. Predicated on the notion of illuminating the “many ways in which place matters to the human experience,” it’s a small display that serves as an outward emblem of the museum’s reimagined mission of diversity and inclusion with its “Fleming Reimagined” The initiativeserves as a wholesale critical analysis of its collection and practice; among its priorities is transparency around the acquisition of Indigenous objects plucked from their home communities and, historically, put on largely context-free display. Through Dec. 8. Fleming Museum of Art, University of Vermont. 61 Colchester Ave., Burlington, Vt.. 802-656-0750, www.uvm.edu/fleming

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CONNECTICUT

WOMEN REFRAME THE AMERICAN LANDSCAPE On view through the end of the month at the Thomas Cole National Historic Site in Catskill, N.Y., this exhibition moves to the New Britain Museum of American Art for the winter with a little more room to breathe. It’s centered on the first-ever solo display of 19th-century American painter Susie M. Barstow, a contemporary and peer of Hudson River School artists Albert Bierstadt and Frederic Church. The exhibition unearths Barstow’s career, significant in her time, but largely disregarded by scholarly practice after her death, and pairs it with a display of 13 contemporary American women artists: Teresita Fernández, Guerrilla Girls, Marie Lorenz, Tanya Marcuse, Mary Mattingly, Ebony G. Patterson, Anna Plesset, Wendy Red Star, Jean Shin, Jaune Quick-to-See Smith, Cecilia Vicuña, Kay WalkingStick, and Saya Woolfalk. Nov. 18-March 31. New Britain Museum of American Art, 56 Lexington St., New Britain, Conn. 860-229-0257, www.nbmaa.org

“Psyche Carried to the Mountain” French, Paris, unidentified workshop, c. 1660. Wool, silk, gold thread; 119 x 215 in. Gift of Mrs. N. Clarkson Earl. – (Wadsworth Atheneum Museum of Art)Wadsworth Atheneum Museum of Art

TALES TO TELL: THE STORY OF THE PSYCHE TAPESTRIES AT THE WADSWORTH ATHENEUM A set of five rare 17th-century tapestries from France unfurl the story of Psyche, the Greek goddess of the soul, who attained immortality from the goddess Aphrodite after completing a series of near-impossible tasks she demanded of her, freeing Psyche to marry her lovestruck son, Eros. Tapestries, woven on looms from painted images, are the product of rare and refined craft; they were made in only a handful of European workshops to adorn the homes of monarchs and their elite associates. A chance to see five of an almost complete narrative cycle (the series originally comprised six) is an opportunity just as rare. Nov. 17-Jan. 7. Wadsworth Atheneum Museum of Art, 600 Main St., Hartford. 860-278-2670, www.thewadsworth.org

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RHODE ISLAND

DINÉ TEXTILES: NIZHÓNÍGO HADADÍT’EH The Rhode Island School of Design Museum is a trove of impressive historical collections and progressive thought; this exhibition is a great example of how deftly it merges those two elements with an exhibition of 20 textile pieces that span more than 150 years of Diné (Navajo) aesthetics and utility, right up to contemporary works. Through Sept. 29. 20 North Main St., Providence. 401-454-6500, risdmuseum.org

Murray Whyte can be reached at murray.whyte@globe.com. Follow him @TheMurrayWhyte.

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Putting on Black Rap Gigs Is Still As Hard As Ever

It’s Saturday night and Manchester is heaving – girls tipsy from porn star martinis teetering in stilettos, gig-ready drag queens puffing on their vapes and an endless row of single file Audi A3 drivers arguing through horns. Sleazy F Baby, a rapper from Rusholme, is on his way to a Deansgate nightclub. Dressed in tracksuits, he and his friends get stopped on entry, and the bouncer says: “Not tonight, lads.” Only when he explains that he’s actually performing, does Sleazy manage to get inside. 

Our research shows prejudice continues to happen in London and other UK cities, like Liverpool, and this has a direct effect on rappers’ and DJs’ ability to earn a living from their craft. It’s a practice that dates back to London’s Form 696, introduced in 2005, when the police would shut down events that were considered to be playing Black music genres. The Form was scrapped back in 2017, but prejudice towards Black punters and Black artists remain.

The policing of Black music in the UK has received most of its publicity in the years prior, like injunctions against the rapper Digga D stopping him mentioning certain violence-related words in his lyrics. But it has a long history dating back to the 50s and the shutting down of Jamaican sound systems. In the 2000s, grime became the ultimate target for police censorship practices, like the time BRIT-nominated MOBO-winning rapper Giggs had his tour shut down over police safety fears. He’d been on police surveillance under Operation Trident – a 1998 police initiative to tackle gun crime in London’s Black communities – despite the fact that he hadn’t been involved in any gang activity for over a decade. 

Criminologists, including Manchester Metropolitan University’s Patrick Williams, have actually found that not only are the people on police “gang” lists mainly from Black, Asian and minority ethnic backgrounds, most aren’t actually involved in gangs or any serious crime at all. “Despite featuring heavily in gang databases, young Black and minority ethnic people do not appear to be responsible for most serious violence in their areas,” Williams writes alongside co-author Becky Clarke in 2016 report Dangerous Associations: Joint Enterprise, Gangs and Racism.

Brixton-raised rapper and visual artist GAIKA, who released his politically charged debut EP Security in 2015 and displayed artwork in 2022’s British Art Show, describes similar experiences. After moving to Manchester for university in the early 2000s, he became a promoter and co-founded the blueprint-setting club night Murkage. 

“Let’s talk about RIO, let’s talk about Wrigz,” GAIKA tells VICE, referring to Manchester rappers. “They’d come to me as a booker, as a promoter, and say we wanna do this party or this show, and we’d try to do it but the police would say, ‘We’ve got intelligence you’re in a gang’ or they’d slap you with [Form] 696. They’d just say, ‘Nah, we’re going to shut you down’ or would find out who the venue owners were and terrify them.” 

In more recent years, it’s been drill music facing heavy criticism in the UK press, leading to the police requesting YouTube to remove hundreds of music videos deemed to be promoting gun violence, and music lyrics being used as a form of evidence to prosecute rappers in criminal trials, like with Unknown T. Given all that, the practice of policing Black sound has become undeniably obvious.  

Then there’s the detrimental planning and policy decisions. Sociologist Dr. Joy White says local authorities’ hellbent aim to attract richer demographics to her home-borough in East London (AKA gentrification) has pushed grime and drill to the margins. “In a bid to make Newham a place where people will choose to live, work and stay, the public locations where music was made are now categorised as places of fear and deficit,” she writes in her 2020 book, Terraformed: Young Black Lives in the Inner City. “The young people who occupy these spaces are rendered as troublesome, and become subject to control and surveillance.”

Over in Liverpool, professor Sara Cohen tells of the exclusion of rap genres when the city became the European Capital of Culture in 2008, in her chapter for the 2013 book Musical Performance and the Changing City: Post-Industrial Contexts in Europe and the United States. Interviewing musicians who drew maps of their music-making in the city, Cohen found that rock musicians’ maps were rich with venues they’ve played. But “live public performance venues were generally absent from the maps produced by grime and hip-hop musicians, who commonly complained that they and their music were excluded from the city centre by those who managed and promoted those venues”.

In Manchester, the marginalisation of Black music in tandem with gentrification has been affecting rappers since the early 2000s, when grime crews like Mayhem came on the scene. “Mayhem were pretty much blacklisted everywhere,” says Danny “Falz” Fahey, also known as rapper Fallacy, who was a music promoter at the time. “I was one of the only people that would put them on and I’d put them on in spaces outside the city centre, because grime had to find itself in unique spaces, especially locally.” 

Rapper Sleazy remembers playing at the incredibly unusual spot of Manchester rock venue Rebellion in 2018, when no other venues would take him on. “Who would think about booking Rebellion?” he tells VICE, still in disbelief he actually performed there. 

DJ Silva tells a similar story. An Old Trafford-hailing selector with 30 years’ experience playing dancehall, R&B and hip hop, he’s faced racial profiling, countless attempts to shut down his events and discrimination at city centre venues. It’s left him feeling that he can’t be visible as a promoter – especially in venues where he’s already been racially profiled as a punter. Now, he actually gets his white business partner to book his events. “I know if it was me that went to them, it wouldn’t be happening,” Silva tells VICE. “You have to get certain faces to go up front, and do the talking, which is totally wrong, but that’s just how it is.” 

More recently, gentrification-driven prejudice in Manchester plays out most noticeably in the Northern Quarter’s bars. An area where once-cheap rents attracted artists and musicians, it’s now been sanitised beyond recognition, with finance bros and their sausage dogs filling the sourdough bakeries now on every corner. DJ Silva has seen how this affects DJs playing rap first-hand. “A lot of the main [Black rap] DJs that you would see in town, you don’t really see them around anymore. When I’ve been Northern Quarter lately, there’s a lot of white DJs,” he says, adding that they’re playing rap music previously played by Black DJs, to largely white crowds. 

This white-washing of music venues impacts bigger artists, too. Our research found that even big name Manchester rapper Bugzy Malone has performed in the city only seven times since 2015. Just take a look at the lineups for Parklife festival and superclub Warehouse Project – they either have no local Black rap acts at all or host them on their smallest stages. Sure, Parklife made some improvements to this in recent years, platforming Manc Black and mixed race artists like Abnormal Sleepz, Meekz Manny and Strategy on its main stages. But in comparison to how many other acts performed, including rap acts, this feels tokenistic at most. 

Post the pandemic, being able to earn a living from playing live is incredibly important for musicians needing to make up for lost earnings – especially in the face of evidence from a 2021 Intellectual Property Office report. This found that “revenues from recorded music, including streaming, downloads and physical sales, constitute only a small proportion of UK music creators’ earnings.” And that live music is one of the main ways that music creators make a living. So basically, having your shows shut down in 2023 is even more catastrophic to your career than when Giggs was targeted, because at least back in the 2010s, physical sales of music were still a major source of revenue to artists. 

GAIKA is one of the few artists we spoke to who’s managed to have an international career despite these challenges, with recent album Drift gaining critical acclaim. For Murkage, he developed strategies for navigating the shut downs, like putting it on mid-week and not announcing the headliner until the day before, or only by word of mouth. Murkage’s partially white, middle class student audience also hugely helped them stay out of the police’s radar. 

“If we had a Black, working class audience and not a Manchester University student one for the first few years, I don’t think we would’ve been able to stay open,” he tells VICE. “I saw the difference because I also promoted nights that catered to Black working class audiences.” Another strategy was to create promo artwork that looked like it was an indie music event. One way they did this was by using dark colours and gothic imagery on their posters, and avoiding a gloss finish to their flyers. 

“Seeing that discrimination is what led me to take such a political stance in my art,” GAIKA says. Some rappers and DJs haven’t been able to fulfil their potential amid all this discrimination, though. 

DJ Silva, for example, is a very well-respected DJ in Manchester, but he hasn’t nearly achieved the national and international success locals agree his talent deserves. Silva puts it down to the way British racism is less obvious than it is in countries like the U.S. –  it insidiously affects your opportunities.

The solution? Not only do we need to fight the more obvious ways in which Black rappers and DJs are discriminated against, we need to take action against the subtle and indirect ways – like gentrification and planning policy – too. Police discrimination aside, ultimately it’s their ability to earn a fair living from performing that’ll enable Black rappers and DJs to carry on doing what they love. And if they’re not given the space to, most won’t survive. 

@kamilarymajdo
@toyx

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Miss Kaninna: “It’s a Privilege to Listen to Black People’s Stories”

Miss Kaninna’s ‘Blak Britney’ is one of the essential singles of 2023. The fired-up moment of political hip hop has shades of The Neptunes and Rage Against the Machine, but is distinguished by Kaninna’s unapologetic vocal performance.

“Government said I would fail,” she raps in the song’s first verse. “But still I prevail.” This opening salvo resonates as the 20-something Yorta Yorta, Djadja Wurrung, Kalkadoon and Yirendali woman goes on to voice her disgust at Australia’s ongoing colonial violence. “I’m a pig hater / Death to invader,” she raps. “And all the land takers / And all the treaty breakers.”

Miss Kaninna – ‘Blak Britney’

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Just reading the lyrics is enough to give you goosebumps – hearing Kaninna spit them out with complete conviction is nothing short of a call to arms. Miss Kaninna’s second single, ‘Pinnacle Bitch’, picks up where ‘Blak Britney’ left off. It’s party music with fury at its core; anger rooted in dispossession and microaggressions.

Ahead of appearances at a slew of summer festivals, including Meredith, Beyond the Valley and HAYDAYS, Music Feeds chats to Miss Kaninna about her career beginnings and insistence on speaking uncomfortable truths.

Stream and purchase ‘Pinnacle Bitch’ right here

Music Feeds: What were you doing before you released ‘Blak Britney’?

Miss Kaninna: I was touring the country for a year.

MF: As Miss Kaninna?

Miss Kaninna: No, I was touring the country in The Sapphires. It was a terrible, terrible time.

MF: What character were you playing?

Miss Kaninna: I played Cynthia.

MF: Do you do any other musical theatre?

Miss Kaninna: No. I didn’t really want to be in musicals but Uncle Tony [Briggs], he heard that I was doing music because I was starting my singing career and I had videos on Facebook and stuff, so he asked me to audition for it.

MF: Had you already started writing your own songs at that stage?

Miss Kaninna: I think I’d been doing music for maybe like a year. I’d played a couple of shows here and there and had maybe four or five songs.

“I’m reminding white people that it’s a privilege to listen to Black people’s stories … you live on stolen land and you’re hearing trauma from us.”

MF: What were your earliest songs like?

Miss Kaninna: Like, you’re never going to hear them. They’re so far evolved [now], it’s not even funny. I was on my phone the other day and I was like, “Oh my god, this is the first song I ever wrote.” It’s just so, like, pop, love story – and I was so unhappy in my relationship, but I was pretending like I was [happy].

MF: So, with pop melody and structure?

Miss Kaninna: Yeah, just like intro, verse, pre-chorus, chorus, verse, pre-chorus, chorus.

MF: Were you a singer-songwriter?

Miss Kaninna: Not really. I’ve always written poems and I wrote songs by myself but this was the first time that I wrote something from start to finish. And the people I was working with at the time had a very big control over the project, which freaked me out a little bit. And so, it was just about, “How do I find people around me that will let me be creative in my own way?” rather than, “You should sing it like this.”

MF: That would strip away the love from it pretty quickly.

Miss Kaninna: Yeah, but I was just so excited that I was making songs. So I didn’t really care. I was like, “OK, sure, you can have more than fifty percent on my song. That’s totally fine.” And my mum was like, “I don’t think that’s right.” And I was like, “Yeah, yeah yeah.” And then she was like, “…no.” And I was like, “Yeah, actually, maybe this is really hectic.”

Miss Kaninna
Photo by Savitri Wendt

MF: When did you become Miss Kaninna?

Miss Kaninna: My name is Kaninna, but I added “Miss” on the front of it just before the summer shows – so maybe like December last year. I have an interesting relationship with my name because Kaninna is my birth name but people only know me as “Kinny” because Kaninna is too hard to say – especially in a Tasmanian town.

MF: What’s the origin of the name?

Miss Kaninna: Kaninna means little possum. It’s Aboriginal, and it was really hard for people to say. But then as I grew more into my identity after coming back from The Sapphires, I wanted my stage name to be Kaninna. You know, Zendaya has one name, Rihanna has one name; it’s such a statement.

And then I realised, being a Black girl, I really wanted to keep my identity my own as well. That’s why I don’t have my hair natural on stage. It was too personal – people think they know me. So, having a “Miss” in front of it, it makes it seem a little bit more like a character. An extreme version of the most confident version of myself. I can put the wig on and I can put that stuff on and go onstage and feel like a more exaggerated version of myself.

I’ll have my hair natural for all the mob stuff. If I ever do community work or any gigs for community, I want them to be seeing me as the most natural version of myself.

“I realised, being a Black girl, I really wanted to keep my identity my own. That’s why I don’t have my hair natural on stage. It was too personal – people think they know me.”

MF: Do you feel like that when you’re writing as well – that you’re able to access a more confident and assertive version of yourself?

Miss Kaninna: Yeah, 100%. I’m trying to build a brand about confidence and having confidence, especially Black girls having confidence. So when I do write my songs – especially doing more rap songs – I feel like I’m more creative that way when I write music.

MF: You’re such a good rapper. Your repertoire includes a bunch of neo-soul songs and a bit of a pop-rock moment, all of which feature you singing, not rapping. But ‘Blak Britney’ and ‘Pinnacle Bitch’ are really powerful hip hop songs.

Miss Kaninna: ‘Blak Britney’ was the first rap song that I wrote. And that was really interesting because I come from a singing background, and then when I wrote ‘Blak Britney’ people were like, “What the fuck?” And I was like, OK, cool, so this song is getting more attention than all my other songs.

We’re seeing all these amazing Black artists coming up, doing hip hop, and I was like, I really want to be a part of that because I can say what I’m saying in a way that people are going to dance but listen at the same time. I feel like rapping and hip hop is really good for that because you’re talking about serious issues while also people are dancing. You can’t really be like, [sings] “Fuck the government”, in a cute little neo-soul way.

MF: Has your taste changed as well? Have you become more of a hip hop fan?

Miss Kaninna: I definitely have loved women in rap for my whole life but I also listen to a lot of men in rap as well. And I suppose since actually doing rap, I don’t listen to men in rap anymore. I can’t be fucked with it. There’s nothing about it that I really enjoy – apart from, obviously, people from here and Blackfullas.

Mali Jo$e, fantastic rapper. He’s crazy, I love everything about him, he’s amazing. Teether, also. They’re all people from Melbourne/Naarm. But in regards to the bigger spectrum of hip hop, I wouldn’t say that my music taste is really men. I prefer rap with substance.

“I wouldn’t say that my music taste is really men. I prefer rap with substance.”

MF: That is evident in your work. Are you determined to get people to pay attention to what you’re saying in your songs?

Miss Kaninna: Yeah. I’ve been pretty surprised by the amount of attention ‘Blak Britney’ got because where I’m from, people don’t value Aboriginal people’s voices. So, you’ll say something, you’re sticking up for your rights, and people will be like, “Pfft. Don’t say that. You’re just being emotional, you’re being too fragile.”

It’s so interesting because I’m saying the exact same thing but I put a fucking 808 in it and then I’m singing the words. So I’m kind of annoyed at that as well – I’m like, you only want to sing about it because it’s cool.

So that’s why at the live shows I’m trying to encourage Black people to come up the front and talking about privilege and reminding white people that it’s a privilege to listen to Black people’s stories, because you’re learning and you live on stolen land and you’re hearing trauma from us. You just need two-step and enjoy it, but at the same time, you should be taking it in.

Further Reading

Miss Kaninna Shares Thumping New Single, ‘Pinnacle Bitch’

Nominees, Hall of Fame Inductees Announced for 2023 Music Victoria Awards

Christina Aguilera Headlines Program for Victoria’s ALWAYS LIVE 2023

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Friday Briefing: Gaza Aid Deal Sees Progress

The U.N. has made progress on an agreement that lays the groundwork for humanitarian aid to enter Gaza from Egypt, two officials said, although the details of how and when the desperately needed food and medicine would be delivered were not immediately disclosed.

Under the agreement, international observers would inspect aid trucks before they enter Gaza to satisfy a demand by Israel, according to officials who spoke on condition of anonymity.

Previous reports of imminent agreements to ease the backup at Gaza’s border with Egypt — both for people and aid — have failed to materialize. Egypt said it would allow 20 aid trucks into the enclave, according to President Biden, but the timing is unclear. Hopes are high that the aid trucks will be able to cross into Gaza today, according to E.U. officials.

The toll: Gaza health officials said at a news conference that at least 3,785 people had been killed in the enclave since Oct. 7. The figures are believed to include casualties from the hospital explosion in Gaza City, for which Hamas and Israel blame each other. U.S. intelligence agencies estimate the blast killed between 100 and 300 people, but cautioned that their assessments could change.

Gazans are struggling to communicate with the outside world and each other, as Israeli airstrikes have badly damaged communications and power infrastructure.

Mobilization: Satellite imagery shows that hundreds of Israeli tanks and armored vehicles have gathered about four miles north of the Erez border crossing into northern Gaza, in preparation for a potential ground invasion. The crossing has been closed since Hamas fighters seized it on Oct. 7.

U.S. support: The U.S. Senate yesterday unanimously pledged to furnish Israel with security, diplomatic and intelligence assistance. President Biden is expected to request $100 billion for Israel, Ukraine and other crises from Congress by today.

China is continuing to build up its strategic nuclear arsenal and has most likely amassed 500 nuclear warheads as of May, the Pentagon said in a new report, an increase of about 100 over last year’s estimate. It remains on track to have more than 1,000 nuclear warheads by 2030, most of them for weapons capable of striking the continental U.S.

The most eye-catching evidence of China’s nuclear buildup in recent years has been three clusters of missile silos constructed last year in the deserts of northern China. At least some intercontinental ballistic missiles had been installed in them, the report said.

The U.S. has also recorded more “coercive and risky” air intercepts by the Chinese military in the Asia-Pacific region over the past two years than in the previous decade, including one that came as close as 10 feet to an American military plane, the Defense Department said in its annual report to Congress on China’s military might.

There are signs that Ukraine’s economy is recovering, albeit modestly.

Though its economic output is still considerably smaller than before the war — the economy shrank by one-third after Russia’s full-scale invasion last year — it will grow by an estimated 3.5 percent this year, the World Bank predicts. The expansion is driven by a pickup in domestic spending and is underpinned by a steady flow of foreign financial aid.

Economists say it will take many years for Ukraine’s economy to return to prewar levels, and forecasts in a time of fierce fighting are bound to be uncertain. Still, local analysts and businesspeople say, a sense of resilience and relative stability has taken hold after nearly 20 months of war.

A woman had never been a hip-hop star, an actress, a producer and the face of mainstream America all at once. Then Queen Latifah made it look almost easy.

Some of rap’s most innovative artists are women. Black actresses onscreen (Viola Davis, Zendaya) represent queer love and desire. Cover-girl aesthetics are embodied by curvy Black artists and models in Rihanna’s Savage X Fenty fashion line.

It’s almost a national pastime for South Koreans to take grievances to the streets.

But recent protests in Seoul reveal a country increasingly polarized over its leader. Churchgoers and elderly people on the right shouting, “Hooray for President Yoon Suk Yeol!”​ — and singing along to pop standards catering to old people, like “What’s Wrong With My Age?” — will be followed days later by young progressives chanting, “Out with Yoon Suk Yeol!”

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Jessica McClintock and Gunne Sax for Jessica McClintock launch new vintage inspired home fashions collections

Jessica McClintock and Gunne Sax for Jessica McClintock launch new vintage inspired home fashions collections – African American News Today – EIN Presswire

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Google Doodle Honors Adelaide Hall’s 122nd Birthday in UK Black History Month

Google Doodle Celebrates 122nd Birthday of Cat Singer Adelaide Hall in Honor of UK Black History Month: In a heartfelt tribute to one of the UK’s most iconic Black artists, Google has unveiled a special doodle today to celebrate the 122nd birthday of Adelaide Hall, the legendary singer known for her enchanting voice and profound impact on the world of music and entertainment.

Adelaide Hall: A Trailblazer in Black History

Adelaide Hall, born on October 20, 1901, in Brooklyn, New York, was not only a gifted vocalist but also a trailblazer in the world of music and theater. Her remarkable career spanned several decades and continents, making her an enduring symbol of talent, resilience, and civil rights activism.

Hall’s career took off in the roaring 1920s when she dazzled audiences on Broadway with her unmatched vocal abilities. She soon became a fixture in London’s vibrant jazz scene, where she made history as the first Black woman to star in a West End musical, the critically acclaimed “Blackbirds of 1926.”

A Legacy of Pioneering Achievements

Adelaide Hall’s contributions to music and her advocacy for civil rights were nothing short of groundbreaking. Her collaboration with legendary figures like Duke Ellington and Fats Waller elevated her status to that of an international star. Hall’s unforgettable renditions of jazz classics like “Creole Love Call” and “I Can’t Give You Anything But Love” continue to captivate audiences today.

As an artist, Hall used her platform to fight against racial discrimination. She courageously spoke out against segregation and became an advocate for civil rights. Her activism paved the way for many Black artists who followed in her footsteps.

Honoring Adelaide Hall’s Legacy

Google’s decision to feature Adelaide Hall in today’s doodle is a fitting tribute, especially as the UK celebrates Black History Month. It recognizes her immense contribution to the world of music and her dedication to the cause of civil rights.

Adelaide Hall’s legacy continues to inspire countless artists, and her music remains a testament to her remarkable talent and unwavering commitment to justice. This Google Doodle is a reminder of her enduring influence and the importance of acknowledging Black history and cultural heritage.

On what would have been her 122nd birthday, we celebrate the life and career of Adelaide Hall, a true luminary in the world of music and a champion for racial equality. Her remarkable journey, documented through the arts, will continue to resonate with generations to come.

Adelaide Hall may have left this world, but her music and her message remain etched in history, inspiring countless individuals and reminding us of the power of art and activism.

Google Enhances Chrome Accessibility, Introduces Typo Correction in Search Bar

Google Places Big Bet on India with Pixel Smartphone Manufacturing

Today’s Google Doodle celebrates Dutch Sporting Legend Jaap Eden on His 150th Birthday

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This Week In Black History October 18 – 24, 2023

THE BANJO by HENRY OSSAWA TANNER

 October 18

1917—“Dizzy” Gillespie, bandleader and pioneer of “B-bop Jazz,” is born John Birks Gillespie in Cheraw, S.C.

1945—Actor, singer, activist and socialist Paul Robeson receives the NAACP’s prestigious Spingarn Medal for his artistic achievements. Robeson would be hounded by the U.S. government because of his leftist leanings. He was labeled a communist, blocked from working in America and later denied a passport so he could not travel to Europe to work.

1951—Novelist Terry McMillan is born in Port Huron, Mich.

  • October 19

1859—Co-founder of West Virginia State College, Byrd Prillerman, is born. He became one of the state’s most prominent educators

1870—The first African Americans elected to the U.S. House of Representatives came from South Carolina: Joseph H. Rainey, Robert C. Delarge, and Robert B. Elliott. Rainey was actually seated first and thus became the first African American sworn in as a member of Congress. A portrait in his honor was finally placed in the U.S. Capitol Building in 2006.

1894—Henry Ossawa Tanner wins the Medal of Honor at the Paris Expositions for his paintings. He was the first African-American painter to gain international acclaim for his works. Tanner was born in Pittsburgh, Pa. In fact, he eventually moved to Paris because of opposition to a Black artist in the United States. His most famous painting is “The Banjo Player.”

HenryOssawaTanner.jpg

  • October 20

1898—The North Carolina Mutual And Provident Insurance Co. is founded by a group led by John Merrick. The company grows into the largest Black-owned insurance firm in America.

1904—Enolia P. McMillan is born. She becomes first female president of the NAACP.

  • October 21

1865—Jamaican national hero and independence advocate, George William Gordon, is unjustly arrested and sentenced to death for his struggle to free the Caribbean island nation from White minority rule. The son of a White man and a Black slave woman, Gordon is considered one of Jamaica’s most significant national heroes.

1950—Earl Lloyd becomes first Black person to play in an NBA game.

1994—Dexter King, youngest son of Dr. Martin Luther King Jr., is named head of SCLC—an organization founded by his slain father. Ironically, Dexter’s sister Rev. Bernice King would later be named to head the civil rights group.

 

  • October 22

1906—Three thousand Blacks demonstrated and rioted in Philadelphia to protest a theatrical production of Thomas Dixon’s racist play—“The Clansman.” The play essentially praised the Ku Klux Klan while demeaning Blacks.

1936—Black Panther Party co-founder Bobby Seale is born in Dallas, Texas.

Clarence Green

1953—Clarence S. Green becomes the first African American certified as a neurological surgeon.

2009—The Centers for Disease Control and Prevention issues a devastating report showing the number of new HIV/AIDS infections was declining for all population groups—except homosexual males, which the CDC refers to as MSM—men who have sex with men. Among MSMs, the highest infection rate was found among young Black males aged 13 to 24.

 

  • October 23

1775—The Continental Congress approves a resolution barring free Blacks from the army fighting for American independence from England. The resolution came even though many free Blacks were already fighting in the war. The motive behind the resolution came from Southern slave colonies which feared that by fighting in the war for American independence, Blacks would also demand an end to slavery.

1911—The National Urban League is formed. Next only to the NAACP, it becomes the second oldest and second largest Black self-help organization in America. It grew out of the spontaneous 20th-Century Freedom Movement for freedom and opportunity that came to be called the Black Migrations. Central to the organization’s founding were two remarkable people: Mrs. Ruth Standish Baldwin and Dr. George Edmund Haynes, who would become the Committee’s first executive secretary.

1947—The NAACP files an “Appeal To The World” with the newly found United Nations concerning racial injustice in America. For its day, the filing was a bold move on the part of the NAACP and it angered many liberal and conservative Whites.

  • October 24

1892—More than 25,000 Black workers are said to have joined a workers strike in New Orleans to protest working conditions, lynchings and other social ills.

AdamClaytonPowell

1935—Fascist Italy invades Ethiopia, at the time, one of only two independent countries in Africa. U.S. Blacks were among thousands protesting worldwide. Powerful Harlem, N.Y. Pastor Adam Clayton Powell Sr. was among those seeking aid for Ethiopia. Ethiopian Emperor Haile Selassie spoke at his church.

1935—“Mulatto” opens on Broadway in New York City. The play, written by famed Black poet Langston Hughes, became the first long-run Black play on Broadway.

1948—Kweisi Mfume is born Frizzel Gray in Baltimore, Md. He became a congressman, head of the NAACP but later lost a bid for a seat in the U.S. Senate.

1964—The African nation of Zambia becomes independent from White colonial rule.

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Putting South Sudanese artists on the map

By Afraa Kori

A group of South East South Sudanese independent artists are ready to take their music to the next level and put their country on the map.

Dandenong-based artist Mike Wang, Cranbourne artists Prez, 700Kae, YTS Gucciboi, Mobstah and GS Phantom and Pakenham’s Yung Baddie represent the world’s youngest nation, South Sudan.

Despite pursuing music for more than five years and being a citizen of a multicultural country, 700Kae said the path to getting wider recognition from the Australian public is still inaccessible in many ways.

“If you look at America, the biggest musicians are black, same with the UK,” he said.

“But you look at Australia and there’s not one big black artist, it doesn’t make sense because the talent I see in my area from South Sudan artists blows my mind.”

Prez said there is often a disconnect between both sides to allow South Sudanese artists to reach mainstream success.

“Maybe if they could relate to us, see that what we’re building is actually something worth supporting, while we engage with them and stay connected, then a bridge could be formed,” he said.

Prez said South Sudanese independent music artists also face financial barriers to finding success in Australia’s mainstream music industry.

“The biggest struggle of being a South Sudanese artist is gaining more exposure in spaces such as radio, and the lack of access to funding and resources,” he said.

“Many artists do not have the support of a major label, which means that they are often responsible for financing their own music production, promotion, and touring.”

Yung Baddie said a number of South Sudanese independent artists are starting their own wave and are demanding more support.

“I do believe that there are many talented and gifted South Sudanese artists in this city,” he said.

“We just need to do a better job.”

YTS Gucciboi said there a number of ways the industry can support local South Sudanese artists.

“We can start by hosting events for the musician artist or connecting them with the resources that they need, having a studio, community centre and any type of ways that can help us get to where we heading or even having to fund the artist so that they pay off music-related payments,” he said.

700Kae said their struggle to reach success is part of their story.

“If we showed our artists the love that these other communities show their artists, we would have gone a long way in the music industry a long time ago,” he said.

“This is what makes our stories even better, we have to work harder for it so when our time comes success is gonna be sweet.”

Prez said more engagement within the community is key to achieving success.

“When people are really involved with the shows, supportive of the releases and projects that come out, and share the music with their friends and family, that does a lot for the independent artists here in Melbourne,” he said.

Wang said while a number of South Sudanese artists recognise there has been improvement, there is still a long way to go in embracing these artists into the mainstream.

“As of recent years, I have seen more leniency towards young artists from parents than it was when I started and others that I know of, but that’s because parents are now starting to understand what it is that we are doing,” he said.

“To be seen and recognised for our greatness is something that is starting to happen and only God knows where it can lead.”

Prez said he believes the industry is on a tipping point.

“Though the mainstream media hasn’t covered much of it, I really think the dynamics will change very soon,” he said.

“Given that more and more talented young Sudanese people are becoming known whether in sports, modelling and the fashion industry, it shines on the Sudanese diaspora as a whole, especially in Australia.

“I do believe the chance needs to be given, not only due to the talent and potential within the arts for a lot of young Sudanese people, but also to give them purpose, something to strive for.”

Yung Baddie said while the challenges exist, their visions have always been clear and their goals have never wavered.

“In the end, you got to prove people wrong because a day will come when the underdogs end up ruling the world,” he said.

Prez said he is looking forward to the future of the South Sudanese music industry in Australia and beyond.

“I plan to take over the music industry and set changes within the foundation for the next generations of creatives and artists, so that it may be easier for them to dream and accomplish than it was for us,” he said.

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New $75K Grant Will Carry On Sam Gilliam’s Legacy

The Dia Art Foundation has announced a new $75,000 grant in the name of Sam Gilliam, who died last June at the age of 88. Funded by the late artist’s estate, the annual award will be distributed for the next 10 years and its first recipient will be announced in the spring of 2024.

Artists working in any medium and based anywhere in the world may receive the grant, though the foundation’s announcement states that they must have made “significant contributions” to art and that the monetary award should be “transformative” for their careers. In addition to receiving $75,000, the grantee will present a public program at Dia Art Foundation, which has locations in Beacon, New York, and in Manhattan’s Chelsea neighborhood.

Artists cannot apply for the award. They are instead selected by five jurors from names submitted by a panel of nominators. The members of the two selection committees have yet to be announced.

Best known for his sculptural “Drape” paintings, Gilliam left an outsized legacy when he died last year. As a Black artist working in abstraction, he diverged from the figurative practices of many of his Civil Rights-era contemporaries. In 2019, he showed his large-scale “Double Merge” (1968) at Dia’s Beacon location. The foundation co-acquired the work, consisting of two unstretched canvases hung from the ceiling and painted in vibrant pastel dyes, with the Museum of Fine Arts, Houston in 2021. Gilliam exhibited his work until the end of his life.

“Gilliam is one of the most important figures in American abstraction and key to developments of art in the 1960s and 70s at the core of Dia’s program,” Dia curator Jordan Carter told Hyperallergic.

She explained that the artist’s draped canvases “bridge the language of abstraction with Postminimalism, making [Gilliam’s]  work a critical touchstone in Dia’s collection.” 

In a statement shared with Hyperallergic, Gilliam’s wife Annie Gawlak said that grants allowed the artist to create a studio, leave his teaching position, and build a home for his family. “The wide-reaching impact of these forms of support and recognition were truly appreciated by Sam and by those most important to him,” Gawlak said.

“Exhibiting at Dia Beacon was a proud moment for Sam,” she continued. “And he would be delighted that his legacy will now continue there in such a powerful way.”

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Craving nostalgia? RBD reunites in L.A. and ’90s rap hitmakers take us back

Halloween season is in full effect and most of us are still scrambling for costume ideas. Take a break from scouring Pinterest and thrift stores for that perfect freaky fit and indulge in the nostalgia in the air this weekend. Mexican telenovela-turned-pop stars RBD are in town for their reunion tour, which is 15 years in the making. OG ‘80s and ‘90s hitmakers Mellow Man Ace and Rodney O’ perform at Grand Performances’ “Evolution of L.A. DJ Culture” event as part of “Grand Ave Arts: All Access” takeover. Try out Metro’s new Grand Ave Arts/Bunker Hill station, which takes you straight into the mix.

LIVE MUSIC

RBD reunion tour: The Mexican pop group that began as a fictional band in the Telenovela “Rebelde” turned into an international phenomenon in the early 2000s. Now it’s back after a 15-year break with the “Soy Rebelde” world tour, which kicked off in August. RBD will hit L.A. fans hard with nostalgia with four shows lined up at BMO Stadium (one was held Wednesday). Bring out your Y2K fashion gems: pointy knee-high leather boots, cropped button-down shirts and low-rise miniskirts. Expect to hear top hits like “Rebelde,” “Salvame,” “Ser o parecer,” “Nuestro amor” and many more that conquered an entire generation.

When: When: 7 p.m. Thursday, Friday and Sunday
Where: BMO Stadium, 3939 S. Figueroa St., Los Angeles, CA 90037
Admission: Tickets start at $79.50

Members of the group RBD lined up on stage in black, gold and silver outfits

RBD kicked off its four-day show run Wednesday at BMO Stadium.

(J. Emilio Flores / For De Los)

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Marisa Monte at L.A. Phil: The five-time Latin Grammy winner is a legend in Brazil, where Rolling Stone Brasil considers her one of the greatest singers of all time. With a career spanning three decades, the post-bossa nova samba singer gives Hope Sandoval vibes as she emerged from the same ‘90s emo era. The sultry songstress stops in L.A. for a KCRW series sure to take you on a trip to Rio de Janeiro, where she studied singing, piano, drums and opera singing from a young age. Her 2002 album “Tribalistas,” sold 3.5 million copies and propelled her to fame. In 2021, Monte released “Portas” after a 10-year recording hiatus. It’s a pandemic project consisting of collaborations with artists from four different countries. Maybe she’ll perform some.

When: 8 p.m. Friday
Where: Walt Disney Concert Hall, 111 S. Grand Ave., Los Angeles
Admission: Tickets start at $56

Peso Pluma Doble P Tour: The corridos tumbados returns with back-to-back shows in Anaheim. The Orange County city gets serenaded by the eclectic Mexican singer-songwriter, who added a bunch of shows to his tour after selling out a slew of venues.

When: 8 p.m. Friday and Saturday
Where: Honda Center, 2695 E. Katella Ave., Anaheim
Admission: Tickets start at $220

Eslabón Armado at the Oxnard Michelada Fest: Held at the Oxnard Beach Park, this fest will have one of the biggest winners of the Premios Billboard Music Awards in Eslabón Armado, whose hit “Ella Baila Sola” along with Peso Pluma broke records. They will be accompanied by La Banda Machos, Enigma Norteña, El Mariachi Orgullo de México and La Banda Maguey. Doors open at 12 p.m. for this all-ages show.

When: Noon Sunday
Where: Oxnard Beach Park, 1601 Harbor Blvd., Oxnard
Admission: Tickets start at $60, children under 10 get in free

Eslabon Armando performs on stage

Members of Eslabon Armando perform during a concert at Crypto.com Arena in July.

(J. Emilio Flores / For De Los)

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Banda Machos at the Peacock Theater: The musical genre that captivated Mexico and the rest of Latin America known as “Quebradita” will shine bright once again with a concert highlighted by acts like Banda Machos, Mi Banda El Mexicano de Casimiro, Banda Maguey and Banda Vallarta Show. This show will give fans another chance to dance in pairs to the sounds of the past decades.

When: 8 p.m. Saturday
Where: Peacock Theater, 777 Chick Hearn Court, Los Angeles
Admission: Tickets start at $65.50

ART & CULTURE

The Evolution of L.A. DJ Culture at Grand Ave Arts All Access: Grand Avenue comes alive with a day filled with free workshops, performances, tours and interactive activities at the many museums, concert halls and arts establishments on this iconic strip of downtown L.A. Visit an instrument petting zoo at the Colburn School, get a photography lesson at MOCA, make Frida Kahlo-inspired crafts at the L.A. Opera and create paper marigolds with Self Help Graphics at the Music Center. Cap off the day at Grand Performances’ “From Backyards to Discotheques: The Evolution of L.A. DJ Culture,” which features a panel moderated by Chicano/a Studies lecturer Gerard Meraz, who DJ’d many Eastside parties with his Wild Boyz crew in the late 1970s through the ‘90s and performances by ‘90s hitmaker Mellow Man Ace of “Mentirosa” fame and Rodney O’ of legendary L.A. rap group Rodney-O & Joe Cooley. Did we mention it’s all free? Y mañana otra cosa.

When: 11 a.m. to 4 p.m. Saturday; Mellow Man Ace performs at 2:15 p.m.
Where: All along Grand Avenue, downtown L.A.
Admission: Free

Procession L.A. River Activation: After a series of workshops making wearable art and papier-mâché sculptures of local plants and wildlife and learning traditional Native song and dance, it’s time for the grand finale: a procession led by our city’s Indigenous cultural bearers. Join one of three contingents meeting at Placita Olvera, Lincoln Heights and Little Tokyo for a walking performance guided by Tongvans Lazaro Arvizu Jr. and Tina Calderon and Japanese American artist and activist Nobuko Miyamoto that traces historical routes where the L.A. River once flowed. All processions lead to L.A. State Historic Park, where Japanese, Mexican and African American arts collective FandangObon hosts crafts, food, music and an augmented reality exhibit honoring our sacred land.

When: 9 a.m. Saturday
Where: Various routes that converge at L.A. State Historic Park, 1245 N. Spring St., Los Angeles
Admission: Free with RSVP

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DíA DE MUERTOS

Gloria Molina Grand Park’s Downtown Día de Muertos: The season of honoring our ancestors is upon us, just take a look at our extensive guide filled with events in L.A. and beyond to celebrate. Grand Park kicks off its annual altar exhibit with performances by Grupo Folklorico Huitzilin, Mariachi Arcoiris de Los Angeles and L.A. Opera Connects’ tenor Jonathan Lacayo. Make your own mini altar and cookie sugar skulls in conjunction with the Grand Ave Arts All Access event. This year’s community altar honors victims of January’s Monterey Park ballroom shooting and those who died in Maui’s wildfires.

When: 11 a.m. to 4 p.m. Saturday through Nov. 2
Where: Gloria Molina Grand Park, 200 N. Grand Ave., Los Angeles
Admission: Free

Attendees view a colorful decorated altar at Grand Park

Attendees view the Community Altar at Grand Park’s Downtown Dia de los Muertos in 2019.

(Jose Sanchez for Grand Park)

San Pedro’s Día de Muertos Festival: Dress up as a calavera and head to downtown San Pedro for this family-friendly event featuring performances by Grammy-winning all-female ensemble Mariachi Divas de Cindy Shea, ranchera trio Ellas, Death Row Records’ first and only mariachi tenor Julian Torres and local folklórico youth groups. San Pedro Brewing Co. is hosting a beer garden, San Pedro Fish Market is providing the micheladas and food offerings include Birrieria San Marcos, Cerda Vega Tacos, LA Street Eatz and Perro. Free trolley rides within San Pedro are provided.

When: 3 to 9:30 p.m. Sunday
Where: 398 W. 6th St., San Pedro
Admission: Free

THEATER & FILM

‘Queen of the Rumba’ closing weekend: “Real Women Have Curves” playwright Josefina Lopez’s latest piece is inspired by the true story of dancer Alicia Parla, who introduced the U.S. to rumba when she immigrated to Miami from Cuba in the 1920s. The show starts when an 89-year-old Parla is diagnosed with cancer and refuses to stay in her ward until she hears the cries of a young girl also battling a terminal illness. Parla cheers up the girl by sharing stories of her wild dance career and revealing her biggest regret: not marrying the man she loved because he was poor and Black and not accepted by her white Cuban family.

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When: 8 p.m. Friday and Saturday, 3 p.m. Sunday
Where: Casa 0101, 2102 1st St., Boyle Heights
Admission: Tickets $20

Cornerstone Theater Company Presents Pedro Play: When journalist Jessica is sent to San Pedro on assignment, she finds a community in the midst of radical change. Based loosely on podcasts, Zoom recordings and articles by the late San Pedro historian Angela Romero, whose motto was “Keep San Pedro Cozy,” the romantic comedy written by Yale drama grad Juliette Carrillo captures the uniqueness of this southernmost part of the city. Carrillo interviewed many San Pedro locals, some of whom appear in the play alongside professional actors, and carefully crafted a production about a city undergoing the transformation of Ports O’ Call into West Harbor and the redevelopment of Rancho San Pedro public housing. Husband-wife duo David Markowitz and Nehal Shahin composed the music for this eye-opening piece.

When: 8 p.m. Thursday and Friday, 3 and 8 p.m. Saturday
Where: Warner Grand Theatre, 478 W. 6th St., San Pedro
Admission: Free, $20 suggested donation

14th O.C. Film Fiesta: From short films like Gustavo Aguilar’s animated “Tuco: The Texas Wrestling Mystery Show” to Dave Tourjé’s documentary “California Locos Renaissance and Rebellion,” including legendary graffiti artist Chaz Bojórquez, this film fest can be viewed online or in person. Culture Clash’s Ric Salinas stars in “57 Chevy,” a comedy about screenwriter Cris Emilio Franco’s real life move as a kid in 1964 from his comfortable Eastside abode to a new tract home in the San Fernando Valley. Plus “57 Questions,” a coming-of-age short about a mother and daughter who get deep and overcome generational pitfalls on a ride in a ‘57 Chevy Nomad.

When: 8 p.m. Friday, 3 p.m. Saturday and Sunday
Where: TVGB Digital Maker Space, 1666 N. Main St., Santa Ana and virtually
Admission: Tickets vary

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GET OUTSIDE

5K Boyle Heights Run/Walk & Classic Car Show: Bust out your running (or walking) shoes and enjoy the 6th Street Bridge on foot at this 5K run and walk starting at Mariachi Plaza. Little ones can join the munchkin run and everyone can admire the classic cars capping off the event at a street fest on 1st St. Riding the Metro is highly encouraged because parking is limited.

When: 8 a.m. Saturday
Where: Mariachi Plaza, 1831 1st St., Los Angeles
Admission: Registration $30, day of signs up available

Classic cars cross the 6th Street Viaduct

Classic cars cross the 6th Street Viaduct into downtown Los Angeles during the “80th Anniversary of the Zoot Suit Riots Historical Cruise” in June.

(Myung J. Chun/Los Angeles Times)

Community Wellness in El Sereno: It’s time to visit (or revisit) the vibrant and well-maintained El Sereno Community Garden for a day of free community care services provided by healing arts nonprofit Critical Mass Dance Company. Well:spring offers all the de-stress techniques, including reiki, acupuncture, massage, yoga, cupping and sound baths. Get clarity with a tarot card reading and show your inner niña/o some love with a hula hoop session. Vendors will be slinging tacos, cocos fríos, handmade journals and more. There’s even a slime station for the kiddos you drag around to all the community events.

When: 1 to 5 p.m. Saturday
Where: El Sereno Community Garden, 5466 Huntington Drive North, Los Angeles
Admission: Free

Pura Playa Latinx Beach Clean Up: What better way to spend your day than making our beaches cleaner while celebrating the contributions of Latinx environmentalists? This Heal the Bay-sponsored event provides the supplies. All you need to do is register, sign a waiver if you’re under 18, and show up to the Venice Beach Pier to pick up trash and learn about the Latinx Angelenos who’ve made massive impacts on environmental justice and coastal culture. Round up the homies, lather on the sunblock and pack that reusable water bottle for this bilingual beach cleanup.

When: 10 a.m. to 12 p.m. Saturday
Where: Venice Beach Pier at Washington, 5138 Venice Fishing Pier, Marina del Rey
Admission: Free with registration

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L.A. is too big for us to know about all the events happening this weekend. If we missed something you think we should know about, let us know.

Kamren Curiel is a fourth-generation Xicana born in East L.A. and raised in Monterey Park and South San Gabriel. She’s written for the Los Angeles Times, L.A. Taco, Latina magazine, LAist, KCET, Alta and the Huffington Post, and was the senior editor at Remezcla and Sí TV.

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