Archive for the ‘Arts & Entertainment’ Category

Enjoy the 2024 events in Antioch’s historic downtown Rivertown

Tuesday, March 5th, 2024

For more information visit www.celebrateantioch.org

DeSaulnier announces 2024 Congressional Art Competition for high school students

Tuesday, February 20th, 2024
2022 District CA-11 Congressional Art Competition winner, “Growing Up” by Menglin Cai of Danville. Source: Office of Congressman Mark DeSaulnier (when he represented the 11th District)

Deadline for submittals is April 5th

Walnut Creek, CA – Today, Congressman Mark DeSaulnier (D, CA-10) announced he will participate in the nationwide 2024 Congressional Art Competition. High school artists living in California’s 10th Congressional District may begin submitting original artwork to his office virtually from now through Friday, April 5th. The winning piece will be selected by a panel of local judges who will view all artwork electronically and announced at a reception to celebrate all participants following the submission deadline.

Participants may submit one photograph or scan of their artwork, taken in the highest possible resolution, to kaylee.deland@mail.house.gov. Submissions must include the Student Release Form. Artwork entered in the contest may be up to 26 inches by 26 inches, may be up to 4 inches in depth, and not weigh more than 15 pounds. If your artwork is selected as the winning piece, it must arrive framed and must still measure no larger than the above maximum dimensions.

  • Paintings – including oil, acrylics, and watercolor
  • Drawings – including pastels, colored pencil, pencil, charcoal, ink, and markers (It is recommended that charcoal and pastel drawings be fixed.)
  • Collages – must be two dimensional
  • Prints – including lithographs, silkscreen, and block prints
  • Mixed Media – use of more than two mediums such as pencil, ink, watercolor, etc.
  • Computer-generated art
  • Photography

All entries must be original in concept, design and execution and may not violate any U.S. copyright laws. Any entry that has been copied from an existing photo or image (including a painting, graphic, or advertisement) that was created by someone other than the student is a violation of the competition rules and will not be accepted. Work entered must be in the original medium (that is, not a scanned reproduction of a painting or drawing).

The rules for the 2024 competition are available here or on House.gov.

“Every year I am so impressed by the talent of the students in our district who participate in the Congressional Art Competition,” said DeSaulnier. “I am pleased to again host this event as an opportunity for young artists to showcase and be recognized for their creativity.”

The competition is open to all high school students living in California’s 10th Congressional District. The winning piece will be displayed in the U.S. Capitol and the winner will be invited to Washington D.C. to attend a national reception honoring winners from around the country. All submissions must be emailed to Kaylee.deland@mail.house.gov no later than 5:00 p.m. PT on April 5, 2024.

The Congressional Art Competition is a nationwide high school visual art competition to recognize and encourage artistic talent in the nation and in each congressional district. Since the Competition began in 1982, more than 650,000 high school students have participated. Complete contest guidelines and submissions forms are available on the Congressman’s website here. For more information or help submitting artwork, please contact DeSaulnier’s office at 925-933-2660.

The history of Black History Month and 2024 theme: African Americans and the Arts

Monday, February 5th, 2024

ASALH – The Founders of Black History Month

From Association for the Study of African American Life and History (ASALH)

The story of Black History Month begins in Chicago during the summer of 1915. An alumnus of the University of Chicago with many friends in the city, Carter G. Woodson traveled from Washington, D.C. to participate in a national celebration of the fiftieth anniversary of emancipation sponsored by the state of Illinois. Thousands of African Americans travelled from across the country to see exhibits highlighting the progress their people had made since the destruction of slavery. Awarded a doctorate in Harvard three years earlier, Woodson joined the other exhibitors with a black history display.

Despite being held at the Coliseum, the site of the 1912 Republican convention, an overflow crowd of six to twelve thousand waited outside for their turn to view the exhibits. Inspired by the three-week celebration, Woodson decided to form an organization to promote the scientific study of black life and history before leaving town. On September 9th, Woodson met at the Wabash YMCA with A. L. Jackson and three others and formed the Association for the Study of Negro Life and History (ASNLH).

When Woodson established Negro History week in 1926, he realized the importance of providing a theme to focus the attention of the public. The intention has never been to dictate or limit the exploration of the Black experience, but to bring to the public’s attention important developments that merit emphasis.

He hoped that others would popularize the findings that he and other black intellectuals would publish in The Journal of Negro History, which he established in 1916. As early as 1920, Woodson urged black civic organizations to promote the achievements that researchers were uncovering. A graduate member of Omega Psi Phi, he urged his fraternity brothers to take up the work. In 1924, they responded with the creation of Negro History and Literature Week, which they renamed Negro Achievement Week. Their outreach was significant, but Woodson desired greater impact. As he told an audience of Hampton Institute students, “We are going back to that beautiful history, and it is going to inspire us to greater achievements.” In 1925, he decided that the Association had to shoulder the responsibility. Going forward it would both create and popularize knowledge about the black past. He sent out a press release announcing Negro History Week in February 1926.

Woodson chose February for reasons of tradition and reform. It is commonly said that Woodson selected February to encompass the birthdays of two great Americans who played a prominent role in shaping black history, namely Abraham Lincoln and Frederick Douglass, whose birthdays are the 12th and the 14th, respectively. More importantly, he chose them for reasons of tradition. Since Lincoln’s assassination in 1865, the black community, along with other Republicans, had been celebrating the fallen President’s birthday. And since the late 1890s, black communities across the country had been celebrating Douglass’. Well aware of the pre-existing celebrations, Woodson built Negro History Week around traditional days of commemorating the black past. He was asking the public to extend their study of black history, not to create a new tradition. In doing so, he increased his chances for success.

Yet Woodson was up to something more than building on tradition. Without saying so, he aimed to reform it from the study of two great men to a great race. Though he admired both men, Woodson had never been fond of the celebrations held in their honor. He railed against the “ignorant spellbinders” who addressed large, convivial gatherings and displayed their lack of knowledge about the men and their contributions to history. More importantly, Woodson believed that history was made by the people, not simply or primarily by great men. He envisioned the study and celebration of the Negro as a race, not simply as the producers of a great man. And Lincoln, however great, had not freed the slaves—the Union Army, including hundreds of thousands of black soldiers and sailors, had done that. Rather than focusing on two men, the black community, he believed, should focus on the countless black men and women who had contributed to the advance of human civilization.

Source: ASALH

From the beginning, Woodson was overwhelmed by the response to his call. Negro History Week appeared across the country in schools and before the public. The 1920s was the decade of the New Negro, a name given to the Post-War I generation because of its rising racial pride and consciousness. Urbanization and industrialization had brought over a million African Americans from the rural South into big cities of the nation. The expanding black middle class became participants in and consumers of black literature and culture. Black history clubs sprang up, teachers demanded materials to instruct their pupils, and progressive whites stepped and endorsed the efforts.

Woodson and the Association scrambled to meet the demand. They set a theme for the annual celebration, and provided study materials—pictures, lessons for teachers, plays for historical performances, and posters of important dates and people. Provisioned with a steady flow of knowledge, high schools in progressive communities formed Negro History Clubs. To serve the desire of history buffs to participate in the re-education of black folks and the nation, ASNLH formed branches that stretched from coast to coast. In 1937, at the urging of Mary McLeod Bethune, Woodson established the Negro History Bulletin, which focused on the annual theme. As black populations grew, mayors issued Negro History Week proclamations, and in cities like Syracuse progressive whites joined Negro History Week with National Brotherhood Week.

Like most ideas that resonate with the spirit of the times, Negro History Week proved to be more dynamic than Woodson or the Association could control. By the 1930s, Woodson complained about the intellectual charlatans, black and white, popping up everywhere seeking to take advantage of the public interest in black history. He warned teachers not to invite speakers who had less knowledge than the students themselves. Increasingly publishing houses that had previously ignored black topics and authors rushed to put books on the market and in the schools. Instant experts appeared everywhere, and non-scholarly works appeared from “mushroom presses.” In America, nothing popular escapes either commercialization or eventual trivialization, and so Woodson, the constant reformer, had his hands full in promoting celebrations worthy of the people who had made the history.

Well before his death in 1950, Woodson believed that the weekly celebrations—not the study or celebration of black history–would eventually come to an end. In fact, Woodson never viewed black history as a one-week affair. He pressed for schools to use Negro History Week to demonstrate what students learned all year. In the same vein, he established a black studies extension program to reach adults throughout the year. It was in this sense that blacks would learn of their past on a daily basis that he looked forward to the time when an annual celebration would no longer be necessary. Generations before Morgan Freeman and other advocates of all-year commemorations, Woodson believed that black history was too important to America and the world to be crammed into a limited time frame. He spoke of a shift from Negro History Week to Negro History Year.

In the 1940s, efforts began slowly within the black community to expand the study of black history in the schools and black history celebrations before the public. In the South, black teachers often taught Negro History as a supplement to United States history. One early beneficiary of the movement reported that his teacher would hide Woodson’s textbook beneath his desk to avoid drawing the wrath of the principal. During the Civil Rights Movement in the South, the Freedom Schools incorporated black history into the curriculum to advance social change. The Negro History movement was an intellectual insurgency that was part of every larger effort to transform race relations.

The 1960s had a dramatic effect on the study and celebration of black history. Before the decade was over, Negro History Week would be well on its way to becoming Black History Month. The shift to a month-long celebration began even before Dr. Woodson death. As early as 1940s, blacks in West Virginia, a state where Woodson often spoke, began to celebrate February as Negro History Month. In Chicago, a now forgotten cultural activist, Fredrick H. Hammaurabi, started celebrating Negro History Month in the mid-1960s. Having taken an African name in the 1930s, Hammaurabi used his cultural center, the House of Knowledge, to fuse African consciousness with the study of the black past. By the late 1960s, as young blacks on college campuses became increasingly conscious of links with Africa, Black History Month replaced Negro History Week at a quickening pace. Within the Association, younger intellectuals, part of the awakening, prodded Woodson’s organization to change with the times. They succeeded. In 1976, fifty years after the first celebration, the Association used its influence to institutionalize the shifts from a week to a month and from Negro history to black history. Since the mid-1970s, every American president, Democrat and Republican, has issued proclamations endorsing the Association’s annual theme.

What Carter G. Woodson would say about the continued celebrations is unknown, but he would smile on all honest efforts to make black history a field of serious study and provide the public with thoughtful celebrations.

Daryl Michael Scott, ASALH Former National President

Read more about the origins of Black History Month.

Learn about and watch the 2024 Black History Month Virtual Festival – ASALH.

Annual Themes

For those interested in the study of identity and ideology, an exploration of ASALH’s Black History themes is itself instructive. Over the years, the themes reflect changes in how people of African descent in the United States have viewed themselves, the influence of social movements on racial ideologies, and the aspirations of the Black community.

The changes notwithstanding, the list reveals an overarching continuity in ASALH – our dedication to exploring historical issues of importance to people of African descent and race relations in America.

2024 Theme

African American art is infused with African, Caribbean, and the Black American lived experiences. In the fields of visual and performing arts, literature, fashion, folklore, language, film, music, architecture, culinary and other forms of cultural expression, the African American influence has been paramount. African American artists have used art to preserve history and community memory as well as for empowerment. Artistic and cultural movements such as the New Negro, Black Arts, Black Renaissance, hip-hop and Afrofuturism, have been led by people of African descent and set the standard for popular trends around the world. In 2024, we examine the varied history and life of African American arts and artisans.

For centuries Western intellectuals denied or minimized the contributions of people of African descent to the arts as well as history, even as their artistry in many genres was mimicked and/or stolen. However, we can still see the unbroken chain of Black art production from antiquity to the present, from Egypt across Africa, from Europe to the New World. Prior to the American Revolution, enslaved Africans of the Lowcountry began their more than a 300-year tradition of making sweetgrass baskets, revealing their visual artistry via craft.

The suffering of those in bondage gave birth to the spirituals, the nation’s first contribution to music. Blues musicians such as Robert Johnson, McKinley ‘Muddy Waters’ Morganfield and Riley “BB” B. King created and nurtured a style of music that became the bedrock for gospel, soul, and other still popular (and evolving) forms of music. Black contributions to literature include works by poets like Phillis Wheatley, essays, autobiographies, and novels by writers such as David Walker and Maria Stewart. Black aesthetics have also been manifested through sculptors like Edmonia Lewis and painters like Henry O. Tanner.

In the 1920s and 30s, the rise of the Black Renaissance and New Negro Movement brought the Black Arts to an international stage. Members of the armed forces, such as James Reese Europe, and artists such as Langston Hughes, Josephine Baker and Lois Mailou Jones brought Black culture and Black American aesthetics internationally, and Black culture began its ascent to becoming a dominant cultural movement to the world. In addition to the Harlem Renaissance, today we recognize that cities like Los Angeles, Chicago, and New Orleans also were home to many Black artists.

The 1960s continued this thread through the cultural evolution known as the Black Arts Movement, where artists covered issues such as pride in one’s heritage and established art galleries and museum exhibitions to show their own work, as well as publications such as Black Art. This period brought us artists such as Alvin Ailey, Judith Jamison, Amiri Baraka, Nikki Giovanni and Sonia Sanchez. The movement would not have been as impactful without the influences from the broader Black world, especially the Negritude movement and the writings of Frantz Fanon.

In 1973, in the Bronx, New York Black musicians (i.e. DJ Kool Herc and Coke La Rock) started a new genre of music called hip-hop, which comprises five foundational elements (DJing, MCing, Graffiti, Break Dancing and Beat Boxing). Hip-hop performers also used technological equipment such as turntables, synthesizers, drum machines, and samplers to make their songs. Since then, hip-hop has continued to be a pivotal force in political, social, and cultural spaces and was a medium where issues such as racial violence in the inner city, sexism, economic disinvestment and others took the forefront.

The term Afrofuturism was used approximately 30 years ago in an effort to define cultural and artistic productions (music, literature, visual arts, etc.) that imagine a future for Black people without oppressive systems and examines how Black history and knowledge intersects with technology and science. Afrofuturist elements can be found in the music of Sun Ra, Rashan Roland Kirk, Janelle Monáe and Jimi Hendrix. Other examples include sci-fi writer Octavia Butler’s novels, Marvel film Black Panther, and artists such as British-Liberian painter Lina Iris Viktor, Kenyan-born sculptor Wangechi Mutu, and Caribbean writers and artists such as Nalo Hopkinson, and Grace Jones.

In celebrating the entire history of African Americans and the arts, the Association for the Study of African American Life and History (ASALH) puts into the national spotlight the richness of the past and present with an eye towards what the rest of the twenty-first century will bring. ASALH dedicates its 98th Annual Black History Theme to African Americans and the arts.

Princeton University student from Antioch wins Projects for Peace award

Saturday, January 20th, 2024
Princeton University senior and Dozier-Libbey Medical High School of Antioch graduate Carlos Cortez, 2023 Projects for Peace grant recipient. Photo by Gwen McNamara.

It takes a village: Carlos Cortez – Class of ’24 – and the people of Zináparo bring music and soccer to their youth

By Lou Chen, Trenton Arts at Princeton Program Manager

Originally published by Princeton University’s Pace Center for Community Service. Republished with permission.

Carlos Cortez ’24 straddles two worlds.

The 2020 Dozier-Libbey Medical High School graduate’s family is from Zináparo, a small rural village in Michoácan, Mexico, where few people have ever heard of Princeton University.

The son of Carlos and Eréndira Cortez is a senior at Princeton University, where few people have ever heard of Zináparo.

But Carlos, the student, had an idea to bring these two worlds together. Last year, with the funding he won as Princeton’s 2023 Projects for Peace award recipient, he started a music and soccer summer camp for Zináparo youth.

Now everyone in Zináparo knows Princeton. And Princeton is just getting to know Zináparo.

Carlos Cortez (back right) and his soccer team. Photo by Lou Chen.

An Idea

Even though Carlos was born and raised in Antioch, California, he considers his real hometown to be Zináparo, where most of his extended family still lives. Twice every year, he travels to Zináparo to enjoy the balmy summers and festive winters, hiking in the nearby mountains and participating in the annual peregrinación (religious pilgrimage).

Accepted into Princeton as a Questbridge scholar, Carlos chose to major in neuroscience and committed to the pre-med track, supplementing his coursework with research and tutoring jobs. Despite his busy schedule, he felt restless. His thoughts constantly returned to Zináparo.

Carlos in Zináparo’s town square. Photo by Lou Chen.

“My dream was to become a doctor and open a pediatric clinic in Zináparo,” he says. “But I realized that it would be many years before I could accomplish this. I didn’t want to wait that long. I wanted a chance to do something now.”

That chance soon arrived. During his junior year, he heard about the Pace Center for Civic Engagement’s Projects for Peace initiative, which provides Princeton undergraduates with a $10,000 award to implement a service project anywhere in the world. With his family’s encouragement, he proposed a music and soccer summer camp for children in Zináparo.

“Growing up in California, music and soccer were very important for me in making community,” he says. “I wanted the kids in Zináparo to have the same experience.”

In the spring of 2023, he won the award.

According to a preview article about his project, “He saw his project as an opportunity to not only influence the youth of his town, but to have positive reverberations for the entire community and surrounding communities as well.

He summarizes this hope as he looks forward to this summer by saying, ‘just like a musical note can travel through both time and space when it is played, I am hopeful of learning how my project’s ideals and goals are going to have transgenerational effects on the future generations of Zináparo and ultimately transcend beyond the borders of my hometown,’ he shared before the project began.”

Carlos and his music students. Photo by Adrián Pimentel.

A Village

As any entrepreneur will tell you, the road from idea to execution is a winding one. “Right before arriving in Zináparo, I was feeling that the process would be easy,” Carlos says. “But when I landed in Zináparo, I started to realize that it was going to be a long journey with a lot of challenges.”

The first challenge was recruiting children for the camp, which Carlos had titled, “Musical Notes: A Composition for Peace.” Even though Carlos was a frequent visitor to Zináparo, he remained an unfamiliar face to many people. It didn’t matter that Princeton was supporting the camp; none of the children knew what Princeton even was. 

He began by visiting the local high school where his aunt Noemí taught history and ethics, going from classroom to classroom and telling students about his new program. He later found out that one of the students called up Noemí, a widely respected community leader in Zináparo, and told her that someone from Princeton University wanted to start a summer camp. “Do you know about this?” the student asked. “Can we trust him?” 

“Of course, you can,” Noemí replied. “He’s my nephew!”

Carlos purchases a bass in Paracho. Photo by Adrián Pimentel.

Another challenge was procuring instruments. Almost 40 kids wanted to learn guitar, violin, or bass—but none of them had their own instrument. One hot summer day, Carlos, his younger sister Natalia, his mother, his uncle Adrián, and his grandfather Guillermo piled into the family van and drove two hours to Paracho, a small town in Michoácan that specializes in making instruments. (Paracho inspired the setting of the Oscar-winning animated film Coco.)

Once in Paracho, they purchased several instruments from a local luthier. Somehow, they crammed one bass, five guitars, and seven violins into a van that already contained five people. “I was pressed up against the side of the van,” says Carlos. “It was definitely an experience.” They made several return trips to Paracho for more instruments, and on one occasion, the aforementioned luthier drove a second bass all the way to Zináparo by himself. 

Carlos was surprised by how enthusiastically the Zináparo community rallied around the camp. Countless people pitched in: the neighbor who let them use his house for rehearsals; the business owner who let them use his shop for a private recital; and Carlos’ 10-year-old student Hector and Hector’s mother Luz, who cleaned up after every rehearsal. “Without everyone’s help, this project would not have been possible,” says Carlos. 

The camp exceeded even Carlos’ wildest expectations. Every Monday through Thursday for two and a half months, almost 100 children aged four to 17 participated in one or more classes: soccer, choir, guitar, and violin/bass. Carlos coached the soccer team and hired teachers for the other subjects. “I wanted teachers who were passionate about working with kids,” says Carlos. “I didn’t want them to treat this as just another way to make money.”

On the last day of camp, his soccer team surprised him with a loud round of applause. One student cried out, “Carlos for president!” Carlos promised to buy them jerseys out of his own money if they continued to practice soccer.

Carlos and his soccer team. Photo by Adrián Pimentel.

Continue they did. Even though Carlos had to return to Princeton for his senior year, he was determined to keep the camp going. He found two people to coach the soccer team on a volunteer basis; they had recently moved to Zináparo and had long dreamed of coaching their own team. He used his leftover Projects for Peace funding to pay for weekly choral and instrumental lessons for his students until December and let them keep their instruments. Noemí took his place as the point person for the program. 

For Carlos, the experience was a blessing. “I just wanted to change the future of even one of the kids,” he says. “I’m seeing that difference already.”

A Debut

On January 7, Carlos woke up with butterflies in his stomach. Today was the debut of Musical Notes: A Composition for Peace. Since the summer, the choir and orchestra (consisting of guitar, violin, and bass) had been rehearsing weekly for a big concert in the Zináparo town square. The entire community had been invited, and Carlos’ extended family in California had flown out to watch. 

Carlos’ soccer team wears their new Princeton-themed jerseys. Photo by Lou Chen.

First, Carlos stopped by the soccer field to observe a match between his team and a team from a neighboring town. He had kept his promise: His team was wearing brand-new orange and black jerseys. Natalia had designed the jerseys, including the iconic image of a Princeton tiger glaring through claw marks.

“In one of our first games, we played against a team from a much wealthier town,” says Carlos. “I could tell how discouraged my students were to see how much nicer [the opposing team’s] field was. I got them jerseys because I wanted them to feel proud to be on this team. I wanted them to feel like they were a part of something bigger…like they had the support of Princeton University.” The new jerseys seemed to do the trick: After putting them on, his team won the next game. 

After the match, Carlos and his parents walked to the town square to set up for the performance. The owner of the local funeral home, whose daughter was in the choir, had donated 150 chairs for the audience—and had even purchased new ones so that there would be enough. 

The audience seated (and standing) in the town square. Photo by Lou Chen.

Carlos was worried that not enough people were going to show up to fill the seats. But as people started entering the town square, he realized that he had the opposite problem: He didn’t have enough seats. His family raced to the rehearsal space, grabbed as many chairs as they could, carried them back, and set them up with only minutes to spare. The new chairs were quickly occupied, and latecomers had to stand. At least 350 people were in the audience. 

As Natalia helped tune the guitars, she noticed a student looking forlorn. She asked him what was wrong, and he quietly asked if this was the last day of the program. “Of course not,” Natalia assured him. He smiled.

The choir performs “Noche de paz.” Photo by Lou Chen.

The choir opened the concert with six Christmas carols. During “Noche de paz” (Silent Night), they cradled candles in their hands, their faces glowing as if lit from within. For their final song, “Ven a Cantar” (Sing with Us), they rolled up their sleeves, revealing bracelets made of jingle bells. As they clapped their hands, the ringing of bells filled the crisp winter air.

The orchestra was up next, performing two songs that featured a 15-year-old choral student named Andrea. Her voice, initially hesitant and wavering, gradually grew in power. The guitarists kept the orchestra together with their steady strumming, and the violinists trained their eyes on the conductor, determined not to miss their tremolo entrance. In the very back, a student plucked away at the bass that Carlos had brought back from Paracho.

José delivers his speech. Photo by Lou Chen.

After the orchestra finished, Noemí invited Hector and Luz to the stage and thanked them for keeping the rehearsal space clean. She presented them with gifts and embraced a clearly overcome Luz. The crowd cheered.

Next to speak was Carlos’ student José, who at 17 years old was the oldest member of the program. “I want to give a special thank you to Carlos for giving me and the children of this town the opportunity to learn music,” he said. “I hope this continues…Zináparo needs these programs.”

Carlos walked onstage to deliver the concluding remarks. “Thank you to my grandparents for giving me a love of Zináparo,” he said, choking back tears. “I know I wasn’t born here, but this is my home.”

As Carlos left the stage, he was mobbed by students, parents, complete strangers—all of whom wanted to take a picture with him. Grown men were crying and little kids were beaming. “Before this camp, the children of Zináparo didn’t have anything like this,” said Eréndira. “But now, they do.”

Carlos hopes that the camp will take place every summer, with weekly programming throughout the rest of the year. He hopes that someday his music students will be paid to perform or even to teach. (This is already happening: José has been invited by his guitar teacher to perform in a mariachi band, and Carlos wants him to teach for the camp.) He hopes to solicit donations from Zináparo residents who have immigrated to the United States, and to potentially seek funding from the Mexican government. 

Musical Notes: A Composition for Peace. Photo by Lou Chen.

These are all big dreams. It’s a lot for one Princeton student—and soon-to-be-alum—to take on alone. 

But Carlos knows he isn’t alone. “I feel honored to have so many different communities believe in the project,” he says. “It ensures the life of the project, because there are so many people invested in wanting to see the kids succeed.”

To learn more about Musical Notes: A Composition for Peace, follow them on Instagram. Their full debut performance can be viewed on YouTube.

Allen D. Payton contributed to this report.

Humbug! play at Antioch Historical Museum begins Friday, Dec. 15

Monday, December 11th, 2023

The Antioch Historical Museum is located at 1500 W. 4th Street in Antioch.

Auditions for Frank Ballesteros’ annual Humbug! play Monday, Nov. 27

Saturday, November 25th, 2023

Performances at the Antioch Historical Museum. Call the Musuem Office for tickets: 925-757-1326 or email at AntiochHistoricalSociety@comcast.net. More details later.

3 Queens of Motown Tribute show at Pittsburg’s California Theater Friday, Dec. 1st

Saturday, November 25th, 2023

By Art Ray

If you missed the Michael Jackson Tribute show last week at the California Theater in Pittsburg, you missed a great show.  It was a good example of the quality of shows Anthony Lane Entertainment is bringing into the beautiful theater.

The Jackson “Foreverland” tribute show on stage was great but I was really impressed with the non-stop energy and choreography of the show’s horn section.  

Next Friday, December 1st it’s going to be the 3 Queens of Motown that takes the stage at the historic and newly remolded theater. Watch out Bay Area you now have a new place to go to see great live entertainment acts in Downtown Pittsburg, California. 

Just back from a successful tour playing multiple sold out Las Vegas area casinos the Nathan Owens-produced 3 Queens of Motown Tribute show takes to the stage Friday December First in Pittsburg at the California Theater.  Mark that on your calendar

The 3 Queens of Motown is a Las Vegas style high energy stage show that pays tribute to Tina Turner, Aretha Franklin and Diana Ross and Owens nine-piece band under his music direction.

Here’s a great idea: How about making it a date night with that someone special or call up some friends and have a theater party?

In an effort to introduce you to the beautiful and newly remolded historic theater the owner, Anthony Lane is keeping the price down to $25.00 for general admission seats. Typically the 3 Queens seats go from $35.00 to $75.00 and at $25.00 that is the best entertainment value in the entire Bay Area.

Put together your party and get your tickets today before they sell out. All of the 3 Queens shows sell out. We are most proud that we sold out Yoshi’s on a hard to sell Tuesday night after a busy three-day Memorial Day weekend. So, you already know we are going to sell out the California Theater. Tickets can be purchased today at www.tickets831.com

The California Theater is located at 351 Railroad Avenue. See you at the show on December 1st.

For info on booking the 3 Queens Tribute Show drop me an email at Art@3QueensTributeShow.com.

Maya Cinemas offers free movie passes for donation to local food banks

Wednesday, November 22nd, 2023

Nov. 22 – Dec. 23

Maya Cinemas, known for developing movie theatres in underserved communities with state-of-the-art presentation, first-class amenities and community involvement, is offering free movie passes for every $10 donation to a local food bank. Beginning on November 22nd and running through December 23rd, movie-goers can make a donation at any Maya Cinema and receive 2 free movie passes (valid 1/1/24 – 4/30/24) for every $10 they donate. Donations are made through the Maya Cinemas’ Maya Community Foundation.

The Maya Community Foundation is dedicated to the development and enrichment of the lives of people in the community in which Maya Cinemas’ theatres serve. The foundation is dedicated to fostering and supporting under-served, low-income communities through a variety of programs.

Donations can be made in-theatre at Maya’s Pittsburg locations at 4085 Century Boulevard.

“Supporting the communities we serve, is at the core of Maya Cinemas. We believe experiencing movies together helps develop stronger more empathetic communities, so we look for more ways to make movies more accessible to more people while giving back to those who need our support.” said Greg Heckmann, Director, Marketing at Maya Cinemas.

ABOUT MAYA CINEMAS

Maya Cinemas was chartered in 2000 with a mission to develop, build, own and operate modern, first-run, multi-plex movie theaters in underserved, family oriented, Latino-dominant communities. Maya Cinemas offers first-run Hollywood movies and unique content through its Canal Maya program in high-end theaters focused on quality of design, state-of-the-art film presentation technology, and providing first-rate entertainment with superior customer service. The Maya Community Foundation is dedicated to the development and enrichment of the lives of people in the community in which Maya Cinemas serve. ww.mayacinemas.com/