The large oval brown seed of a tropical palm, consisting of a hard, woody husk surrounded by fibre, lined with edible white flesh and containing a clear liquid.
(South Asian)Brown on the outside, but white on the inside.
My nationality is British. I was born in Sri Lanka but moved to England when I was one month old. Growing up, my mother often tried to immerse me and my sister in both cultures. One attempt was a two-week period of Tamil culture classes at the local high school. Our lack of interest caused the venture to die quickly, but seeing as I was named after a French seaside town and my sister, the Latin word for Mother Mary, we were bound to fail amongst a sea of Priyanishas and Ramakrishnas.
On the other hand, when I was nine, she enrolled us in our church’s talent show, where we performed a song by Girls Aloud, a popular British band. Her choice as the stylist? A Union Jack tank top, Union Jack plastic sunglasses (it was an indoor competition), red, white and blue hair bobbles and, in case the message wasn’t fully communicated, red, white and blue ribbons braided into our hair. Ours was the only non-white performance. It looked like we were stock photos for a government-funded, pro-immigration brochure: Look at how excited these citizens are about their new home!
This show of patriotism along with the failed Tamil classes predicted my future, since today, in Sri Lanka and amongst the entire brown population aged 40-plus, I am considered “Western.” I avoid traditional clothing, can’t speak fluent Tamil and generally don’t fit in with my family which lives in Sri Lanka. But after living in England, and now being in Canada, I found this label isn’t applied as liberally to me.
I moved to Canada four years ago and soon became aware that being the new British girl was a huge disappointment. A month after I arrived, a classmate was describing how excited everyone was for my arrival. She went on to say snidely, “Some of the guys were even saying they were gonna ask you out,” giving me a disparaging once-over. At that moment, I realised these people were expecting a tall, willowy girl with golden curls and blue eyes. Instead, I showed up with frizzy Hagrid-esque hair, wire glasses, train-track teeth and, of course, brown skin. I, apparently, could not be British.
The reality is that first-generation immigrant children don’t fit in anywhere. Skin colour is a definite factor. I can say that at this point in my life, I have been asked “where I am really from” enough times that from now on, the answer will be “my mother’s womb.” However, the contradicting cultures we are raised in results in us facing conflicting values and opinions that are hard to navigate. In one day, our white friends will say they wish they were “tan” like us, while our aunts will comment that we’ve “become a little darker.”
Kids of immigrants have owned this strategy since the first school lunch when our white friends wrinkled their noses at our chicken biryani. For me anyway, this was the moment when my white mindset and brown mindset were born, especially helping me keep up appearances amongst the Tamil community.
A few years ago, my family attended a birthday party consisting entirely of Tamil people. My mother made small talk with friends and all the kids were asked what they wanted to study in the future.
One girl earnestly replied she wanted to be a German translator. I could feel a whoosh that was everyone’s blood pressure shooting up.
Now at the time, I was seriously researching careers in television writing. But I knew all immigrant parents would agree they didn’t fight tooth and nail to come to the West for their children to enter the entertainment industry. What I’ve learned is that what is said doesn’t have to be true or realistic – blurting out any nonsensical STEM field is enough. Which is why I mumbled something about a joint MD/PhD program at Columbia I was looking into and continued munching on my samosa.
The question is: Were my actions restricting progress? Could I have challenged Sivaraji Aunty to a debate about the changing job industry and the importance of representing South Asian voices in the media? Perhaps. But at the end of the day, I don’t live in Sri Lanka. It’s possible for me to avoid these mindsets for the rest of my life, but the alternative isn’t really much better.
People may wonder why asking “where someone is really from” is ignorant. It reinforces the idea we don’t belong to the nation we know and love and identify with. The problem that I and other first-generation kids face is that the most in touch we ever feel with our culture is when we’re being ostracized by others because of it. Every day, we balance fitting in with white society and our culture’s society whilst ignoring ignorant comments. God forbid you lash out one day since every person of colour is considered an ambassador for their entire race and one error is certain to fuel preexisting toxic mindsets.
My nationality is British, but I wish this could become a statement, not the beginning of an ignorant conversation. My background is Tamil, but I wish my community could understand generational change should be talked about, rather than fearfully shunned. Such is the ballad of every first-generation child who walks between worlds on a tightrope, with gusts of racism occasionally threatening their balance. Explaining this identity crisis to every oblivious person we encounter from both cultures would be a neverending, exhausting feat, and until I achieve that level of resilience, I’ll just stick to being a “coconut,” wearing a Union Jack tank top and ordering a chai tea latte at Starbucks.
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In celebration of Kirthana Ramisetthi’s second novel “Advika and the Hollywood Wives,” BGM literary editor Nimarta Narang is publishing this short story by the acclaimed author. This piece chronicles the evolution of a writer’s life through their ever-changing author’s bio. In the details, from the change in last name to the new address, we observe how Gigi grows into Genevieve and the life events that make her into the writer she becomes.
“My Picnic,” published in the Oakwood Elementary Storytime Scrapbook
Gigi Maguire loves strawberries, “Smurfs,” and being a first grader. Her favorite word is ‘hooray.’ This is her first short story.
“Sunshine Day,”published in Oakwood Elementary KidTale
Gigi Maguire is a fifth grader in Ms. Troll’s class. She loves writing stories more than anything in the whole world, except for peanut butter.
“What Rhymes with Witch?,” published in BeezKneez.com
Gigi Maguire is a high school junior living in the Bay Area. Her favorite writers are Sylvia Plath and J.K. Rowling. If she can’t attend Hogwarts, she’ll settle for Sarah Lawrence or NYU.
“On Her 21st Birthday,” published in LitEnds
Gigi Laurene Maguire is a writer and recent graduate from Sarah Lawrence College. Her favorite writers are Sylvia Plath, Alice Munro, and Mahatma Gandhi. She is making her big move to New York City in the fall.
“Valentine’s Day in a Can,” published in Writerly
Gigi Laurene Maguire is a freelance writer who loves the written word, Ireland in springtime, and “La Vie En Rose.” She lives in Hoboken, New Jersey.
“Unspoken Ballads of Literal Heartbreak,” published in Weau Dunque Review
Gigi Laurene Maguire is an assistant editor at ScienceLife.com. Her work has appeared in Writerly and is forthcoming in Pancake House and Schooner’s Weekly. She lives in Hoboken, New Jersey.
“The Mistress of Self-Loathing,” published in Story Day
Gigi L. Maguire is the editor-in-chief of Small Business Weekly. Her work has appeared Writerly, Story Day, Pancake House, and Schooner’s Weekly. She’s currently working on a novel about witches. She lives in Hoboken, New Jersey, with her tabby cat Sabrina.
“The Distance in Your Eyes,” published in The Canton Review
Gigi L. Maguire is a freelance writer and digital marketing specialist. Her work has appeared in Writerly, Story Day, and is forthcoming in Idaho Centennial. She’s working on a novel and a short story collection. She lives in Hoboken, New Jersey.
“Auspicious,” published in BookWorks
Genevieve L. Maguire’s work appears or will appear in The Canton Review, Mark’s End, Bishop Quarterly, and Idaho Centennial. A second runner-up for the Imelda Granteaux Award for Fiction, she is writing a novel and a memoir. Genevieve lives in Brooklyn.
“Meditate, Mediate,” published in Ripcord
Genevieve L. Maguire’s fiction appears or will appear in BookWorks, The Canton Review, Berkeley Standard, and elsewhere. A graduate of Sarah Lawrence College, she is an MFA candidate at New York University. She lives in Brooklyn with her boyfriend and their two cats.
“Chaat & Chew,” published in The Carnegie Review
Genevieve L. Maguire’s fiction appears in Ploughshares, Ripcord, The Cambridge Review, and elsewhere. She received her master’s in creative writing from New York University. Her short story “Meditate, Mediate” has been optioned by Academy Award nominee Janet De La Mer’s production company, Femme! Productions. She lives in Brooklyn with her fiancé, their three cats, and a non-singing canary.
“Urdhva Hastasana Under a Banyan Tree” published in The Paris Review
Genevieve Maguire-Mehta’s fiction has been hailed as “breathtakingly lyrical” by Margaret Atwood. She is the recipient of the Whiting Prize for Short Fiction and an Ivy Fellow. Her fiction has appeared in The Carnegie Review, Ploughshares, and elsewhere. She lives with her husband Manoj in Park Slope, Brooklyn.
“Reaching New (Jackson) Heights,” performed by Lana Del Rey on NPR’s “Shorts” series
Genevieve Maguire-Mehta’s fiction has been hailed as “effervescent” by Alice Munro and “breathtakingly lyrical” by Margaret Atwood. She is the recipient of the Whiting Prize for Short Fiction and an Ivy Fellow. Her work appears or has appeared in The Paris Review,Elle, The Carnegie Review, and elsewhere. She lives with her husband in Park Slope, Brooklyn with their feisty menagerie of animals.
“The Bhagavad Gina,” published in The New Yorker
Genevieve Maguire-Mehta is the recipient of the Whiting Prize of Short Fiction and is a McClennen Arts Colony scholar. Her work appears or has appeared in The Paris Review,Elle, and elsewhere. She is currently working on a novel. She lives with her husband and daughter in Park Slope, Brooklyn.
“When Two Becomes None,” published in American Quarterly
Genevieve Maguire’s writing has received dozens of accolades, most recently the Luciana Vowel Prize for Female Fiction. Praised by Alice Munro as “effervescent,” her work has appeared in more than twenty publications, including The New Yorker, and The Paris Review. She lives with her daughter Priyanka in Park Slope, Brooklyn.
“The Day We Learned Desire is a Winding Path,” published by Capricorn Rising Press
Genevieve Maguire is an award-winning writer whose work has appeared in more than thirty publications, including The New Yorker and The Paris Review. She lives with her daughter in a 100-year-old farmhouse in Woodstock, New York. “The Day We Learned Desire is a Winding Path” is her first novel. Visit her website at genevievemagauthor.com.
“Hairy Arms and Coconut Oil,” published in MotherReader
Genevieve MaguireDunblatt is a novelist, homeopath, and part-time yoga instructor. She has seen her critically-acclaimed short stories published in The New Yorker, The Paris Review, and elsewhere. She lives with her husband Benji and daughter Priyanka in Jacksonville, Florida.
“Priya Pinker’s Mother Gets a Life,” published by Capricorn Rising Press
Genevieve M.Dunblatt is the author of two novels, including “The Day We Learned Desire is a Winding Path.” An aura reader, faith healer, and yoga instructor, she has seen her critically-acclaimed short stories published in The New Yorker, The Paris Review, and elsewhere. She lives with her husband in Jacksonville, Florida. Visit genevieveauthormag.com to learn more about her writing, and genevieveauthormag.com/hearthappy for her wellness services.
“Comma, Coma,” published in Read-A-Day Journal
Genevieve Maguire is the author of “The Day We Learned Desire is a Winding Path” and “Priya Pinker’s Mother Gets a Life.” She has seen her critically-acclaimed short stories published in The New Yorker, The Paris Review, and elsewhere. Alice Munro has called her writing “effervescent.” She lives in Jacksonville, Florida.
“Next Stop New York,” published in The Lunar Reader
Genevieve Maguire is the author of “The Day We Learned Desire is a Winding Path” and “Priya Pinker’s Mother Gets a Life.” She lives in New Jersey.
Bharatanatyam is a traditional Indian dance form and the oldest classical dance tradition in India. Bharatanatyam, originally a dance performed by women in temples of Tamil Nadu, is often used to convey Hindu religious tales and devotions. It is taught by a teacher known as a guru. The dance costume resembles that of a South Indian bride and the dancer wears anklets, called ghungroos, to keep the rhythm while dancing to the music. While Bharatanatyam is still taught all over the world in the traditional way, the styles of teaching have changed over the years. For the last six years, my sister and I have been taught modernized styles of Bharatnatyam in the USA.
An Arangetram lasts approximately three hours and has nine, or in our case 10, dances in total. It begins with an introduction dance called a Mallari or Pushpanjali following the guru’s nattuvangam (rhythm kept using symbols). In the middle of the program is a Varnam — a centerpiece dance that lasts about 30 to 40 minutes. This dance tests the dancer’s endurance as well as their storytelling ability. The performance is concluded with a Thillana which is seen as the last glimpse into the dancer’s full capacity. The Thillana is followed by a Mangalam, the closing dance of the Arangetram.
My sister and I began learning Bharatanatyam in 2016 when we were nine years old. Despite our instant attachment to the art form, we were always daunted by the idea of having an Arangetram of our own. It would be challenging, mainly because we are twins, and our performance would have to be suitable for two people to perform side by side. We began preparing for this event in the summer of 2021. Our guru would make us run for the first half hour of class to build our stamina — much-needed for a three-hour repertoire. We would spend the next two and a half hours learning our repertoire. The first dance we learned together during this time was our Varnam. Learning this dance took a month and we spent a lot of time memorizing it. Our Varnam was dedicated to Lord Krishna, one of the many Hindu gods, known for his charm, wit, and being a master Guru whose philosophies were immortalized through the Gita — the Hindu Holy scripture.
An Arangetram is the on-stage debut of a traditional Bharatanatyam dancer following years of training and discipline under the able guidance of a guru. This is a milestone for young artists as it opens up the opportunity for solo performances, choreographing individual pieces, and instructing other dancers.
By January, we had learned our entire repertoire and were starting to memorize it while adding expressions, poses, and building up our stamina, making them look effortless. Some dances were more difficult to memorize than others, particularly dances that were story-based. Because most Bharatanatyam dance music is in either Sanskrit or Tamil so we couldn’t understand the lyrics right away. Our guru helped us interpret the stories before teaching us the choreography making them easier to commit to memory. We also had help from our mother who listened to all our songs and gave us keywords that corresponded with our dance moves. Listening to dance music on the way to school, dance, or while getting ready for bed, became a part of our daily routine as it helped us internalize the rhythms.
Although a year seems like a long time to prepare for an event, the day of the Arangetram came before we knew it. The morning started off with family and friends coming to our house to help us transport decorations and essentials we would need backstage. We arrived at our venue — the Balaji temple in Bridgewater, New Jersey — and made our way to the green rooms. Our makeup artists assisted us with hair and makeup, which lasted four hours. During this time we were going through the dances in our heads and mentally preparing for the performance to come. Once we were dressed in costume, we headed for the stage pooja, a prayer session on the Arangetram stage with close friends and family, to invoke a successful performance. This was also the time when jitters started kicking in. It had just occurred to us that the performance we’d been preparing for our entire dance careers was about to happen and this was the only chance we had to show the audience our very best.
A person can only have one Arangetram in their lifetime, and this huge milestone comes with pressure given how special the performance is.
As the masters of ceremony were introducing our first number all I could do was stare at my sister standing in the other wing, and I knew we had the same thoughts going through our minds.
As we began dancing I felt almost a sense of relief because of how well we knew the dance. Every single dance was so ingrained in our muscle memory that it felt like second nature even in front of such a large audience. During the repertoire, we had two costume changes, with three costumes in total. Each costume change took 15 minutes while the audience was learning about SAMHAJ or listening to speeches from our friends and family. Backstage, our makeup artists and backstage moms were busy helping us change our costumes and jewelry, adjusting them to make sure nothing would move while dancing. We also had some of our fellow dance girls backstage giving us water and fruit as well as tightening our ghungroos so they wouldn’t fall off on stage.
Our Varnam was a huge success, resulting in a standing ovation from the audience. After the Varnam, we performed a slower dance called Ramabajanam, telling all the stories about Lord Ram, another Hindu god known for his chivalry and virtue. We decided to dedicate this dance to our parents since it was always their favorite to watch and listen to. My mom was heavily involved in helping us memorize this dance by telling us the stories so we wouldn’t forget the choreography. Right before the last dance, we acknowledged all of the people who helped us backstage and were presented with our graduation certificates. In order to give the audience a peek at the effort that went into the performance they were watching, we shared our experience with the audience as well as our guru’s message during this time. Our last dance surprised the audience, as our mother joined us on stage and danced with us. She always dreamt of being a dancer as a child but was never able to learn. Sharing one dance meant a lot to us, and watching it was very entertaining for the audience as well. After all the dances were over, all our guests proceeded to the banquet hall for dinner where we were able to greet all our guests and thank them for coming. When the night ended we were exhausted but still full of adrenaline.
Even though the tension that had built-up in my head over the last few months had now subsided, I was somewhat disappointed that the process had come to an end. I wouldn’t exactly call my Arangetram journey perfect or effortless, but I grew so much this past year as a dancer and as well as a person. The lessons I learned from dance about hard work and resilience will carry on with me for the rest of my life and for that I am forever grateful. The event itself brought so many people together such as my aunt and cousin, who came all the way from India to attend, as well as so many relatives that we hadn’t seen in years. Grandparents, as well as young children all gathered in the audience to watch a display of their culture, or for some audience members, learn a new one. Not only did we spread awareness for this beautiful art form, but we also raised awareness on mental health amongst South Asians — an issue we’re passionate about.
Along with our guru, we decided to leverage this event to create awareness for mental health amongst South Asians in the United States. We decided to advocate for SAMHAJ, a charity that provides education and support for South Asians affected by serious mental illnesses. In order to educate people about mental health, SAMHAJ offers workshops to social service organizations, schools, and mental health professionals as well as provides culturally competent mental health services by creating bilingual support groups. You can donate to SAMHAJ via this link.
Overall, this process has been immensely gratifying and I simply cannot wait to see what the future has in store for me with Bharatanatyam.
February 2, 2023February 11, 2023 7min readBy Arun S.
Kevin Wu, previously known as KevJumba, is an American YouTuber, from Houston, Texas, with more than 2.68 million subscribers on YouTube and more than 323 million views. His content consists of vlogs, social commentary, musical parodies and more. Wu also streams on Twitch and has released original music as well as freestyles. His most popular YouTube video is titled “Nice Guys” with Ryan Higa. Wu has also worked with many individuals including A-Trak, Chester See, David Choi, Globetrotters, Iyaz, Jamie Chung, Jeremy Lin, Ryan Higa, Wong Fu Productions, and more. He has also appeared in movies such as “Hang Loose,” “Revenge of the Green Dragons,” “Man Up,” and more. Wu is one of the first original YouTubers gaining popularity in 2008 and even had another channel, titled JumbaFund, now known as Team Jumba. Continue reading to learn more about Kevin Wu’s journey!
We really enjoyed the project ‘Underneath the Lights.’ On the track “WHY U IN LA” the lyrics, “Don’t know who I might be, it might surprise me. I could be a hypebeast, That’s nothing like me, It’s so enticing.” How do you feel this speaks to the idea of self-discovery? What have you learned about yourself, diving back into making content?
I love that song we did. The artist who sang those lyrics his name is Zooty. I really provided the energy and direction for the musical piece, but I give credit to my producer Jonum and Zooty credit for the lyrics. Both guys are a slightly different generation, gen-Z, whereas I grew up as a millennial. I find that I left a lot on the table when I left YouTube at 23, so when I work with gen-Z I have so much that I want to give. Coming back to YouTube this time around, it’s all about self-reliance. Coming from movies and television, you have to depend on people to get a better product. But with YouTube, I’m going back to my roots and putting my wit and effort into every part of the process again (writing, directing, performing, producing, editing). I want the result to be authenticity and a homegrown feeling.
When you started your YouTube channel you were known for your vlogs and social commentary. How do you feel about the new age of content creation — where content is in surplus but individuals aren’t feeling the content?
It’s hard to say whether or not individuals are or aren’t feeling content — the taste is just so wide now. It’s like living in Los Angeles; food is very competitive, and when picking a restaurant you have every ethnic variety and even fusion foods. I imagine opening a restaurant in LA to be very competitive and the attention to detail in what you make has to be authentic or hit a certain demographic. I feel on the Internet, YouTube does a decent job of catering to your sensibilities, the so-called algorithm. However, the personal connection you get with content creators has somewhat been shifted, and now it’s become more interest-based (ie gaming, how-to, music, politics, etc.)
How do you feel the original algorithm has changed, and what do you miss most about that time?
I don’t remember talking about algorithms back in 2010 to 2012. People watched their favorite Youtubers because their homepage included their subscriptions first and foremost, and then if your subscriptions hadn’t posted anything new, you would typically check the most popular page. Then trending became a thing and now you have algorithms generating your timeline based on a bunch of data. I think it’s forced creators to think externally and hanging onto identities i.e. what are my interests? Am I a gamer? Am I a streamer?
We parodied your music video for “Nice Guys” for our orchestra music camp skit back in high school. If Chester, Ryan, and you, had to recreate “Nice Guys” today, would you focus on the concept of self-love for the current generation? We also really loved “Shed a Tear.”
I definitely think self-love would be a very nice theme. Recreating it would be nice, actually. I think it’s hard to get three people to all be in the same room again, especially after leading different lives. But “Nice Guys” was something special for each one of us, and Chester See deserves a lot of credit because of his musical talent. It’s made me realize today the impact of music. I really enjoy the expression of music because it forces you to be more artistic, versus just saying what’s on your mind. Like poetry, or hearing harmonies.
You’ve worked with many individuals and groups in the past including, A-Trak, Chester See, David Choi, Globetrotters, Iyaz, Jamie Chung, Jeremy Lin, Ryan Higa, Wong Fu Productions, and more. If you could create content with any group of individuals who would be your dream collaborators?
At this stage in my life, I really enjoy coming back and rekindling those creative connections and checking in with previous friends or acquaintances. Doing a video with Ryan Higa, Jeremy Lin, Chester See, David Choi, Wong Fu, Jamie Chung, those would all be very fun. But the first step would be to just see how they’re doing. So that’s the closest thing to a best case scenario for me. I’m not trying to force any collaborations at the moment (haha!). Unless it’s convenient.
As an NBA fan you expressed you would like to talk more about basketball on Ryan’s “Off the Pill Podcast.” How do you feel watching sports and has playing sports helped you become more in tune with yourself?
After going through a lot of physical adversity after my car accident, reconnecting with sports has been really helpful. I played basketball for a while and I’d like to get back into soccer. I wanted to talk about basketball on Ryan’s podcast because I was still dipping my toes into Internet content/social media and didn’t want to talk too much about myself at the time.
As a content creator how do you balance not letting validation get to your head and authentically connecting with your audience?
We all seek validation. It’s innate, but it’s about where you seek it. Nowadays I remember to validate myself first, by starting with my mind and body. After a while, you can get a sense of when you need validation versus being totally unconscious of it. Sometimes that sense of validation is important, so we know to check in with our parents, or see if a friend needs positive feedback. To connect with the audience, that’s like number five in my priority list (haha!). Having an audience can be scary; you definitely want to be in tune with yourself first.
How do you deal with comments consisting of “I miss the old KevJumba?”
As live streaming has become a new form of content now, how have you enjoyed live streaming on Twitch for the Head In The Clouds Festival both in 2021 and 2022? We really enjoyed seeing Ylona Garcia sing “Nice Guys!”
It’s fun, I enjoy live streaming and I really appreciate 88rising and Amazon Music for inviting me both years to be the host for their livestream.
What was the decision behind putting your family in your videos?
I put my Dad in my videos accidentally; we were on a ski trip. I think people responded really positively in the comments, and then I just sat down had a conversation with him on camera, and it became a hit. After that he just became his own character. I think I tend to come alive more when I am interacting with someone on camera.
We really liked seeing you upload videos to Team Jumba. Is the mission still to donate earnings to a charity that viewers suggest?
At the moment, no. The Supply, which was the charity I donated to before, has since shut down. I also don’t make much money on YouTube anymore, since I was inactive on my channel for a while, so that format from 2009 will be difficult to replicate.
We really enjoyed the ‘KevJumba and Zooty Extended Play,’ specifically the track “With You in the Clouds” featuring fuslie. How has Valorant inspired your music as well as other forms of content creation?
The album was really experimental. I find the personal connections I made in gaming to be the most enlivening. “With You in the Clouds” was inspired by TenZ and, since he’s such a legendary figure in the pro FPS community, we had to do a worthy tribute. I think paying tribute to the things you like is a really great way to think about content creation.
How do you feel your childhood experiences in Houston, and playing soccer, have shaped you to chase your dreams of acting? How have you enjoyed acting in comparison to YouTube?
I love acting. It’s a wondrous lens at which to see your relationship with others. I find that in studying acting, you are often really studying the human experience or the mind. It’s like learning psychology but you are on your feet, or you are reading great theater. Playing soccer and growing up in Houston don’t really contribute directly to why I enjoy acting, but I very much enjoy coming from Houston and thriving in soccer. It made me commit to something and seeing how consistently “showing up” can really ground your childhood and prove to be valuable, later in life.
How do you feel we can uplift each other across the Asian diaspora and unify to create ripple effects of representation?
I think listening is probably the best thing you can do. Just genuinely hearing about something, or someone, helps you really invest in them during that time that you are there. So I think that’s probably the first step.
What made you go back to school and finish your degree at the University of Houston in Psychology?
No one reason in particular. I was also studying acting at the time back in 2017-2018 when I completed the degree, so it was just testing my limits and seeing what I could balance. I finished it online.
What are your upcoming plans?
Just experimenting on YouTube for now. Making videos with my own effort.
Your first video was uploaded back in 2007 and was titled ‘Backyard,’ where you are dancing to a song called “Watch Me” by Little Brother, off of the “The Minstrel Show.” We also really enjoyed your video with Ryan Higa titled “Best Crew vs Poreotics.” Are you still dancing these days?
Yes. The body does what the body wants.
Lastly, what do you hope individuals take away from this interview with Brown Girl Magazine?
Nothing in particular. I try to let my mind flow when I answer questions. I may have jumped to conclusions before fully investing in some of the questions, so I apologize. If you are reading, I thank you for your time and patience. I also thank Brown Girl Magazine for putting together a vast array of questions that allow my mind to stretch and work out a bit. I hope you find a stronger connection to your own truths, and I hope I did not disturb those in any way. Regards.