Peachy: “Changing Season” captures the passing of a family farm from one generation to the next

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NOTE: “Changing Season” will be screened during the Colorado Dragon Film Festival on Sunday, May 22 at 12 noon. Click here for full information about the festival.

You’d think after a lifetime of growing and harvesting peaches, you’d get sick of eating them. But the Masumoto family still loves peaches and serves them up every way imaginable. David “Mas” Masumoto, 62, the farmer who has nurtured his parents’ peach groves, says “Actually no. I love peaches, almost literally in my blood.”

Nikiko Masumoto, his daughter, adds, “We have 10 varieties and each has a window of ripeness for two weeks. So it’s like getting to see your best friends for two weeks out of the year.”

The father-and-daughter interaction is central to the delightful dynamics of “Changing Season: On the Masumoto Family Farm,” a documentary by director Jim Choi. The film follows the two, as well as the farm’s matriarch, Marcy and Nikiko’s brother Korio, through a transitional year not only in the farm but in the family’s life.

The Masumoto Family Farm, which produces nectarines and raisins in addition to peaches, was purchased and first tilled by Mas’ father, Takashi “Joe” Masumoto, in 1948. The family had returned to California’s Central Valley after spending World War II in a concentration camp in Arizona along with thousands of other Japanese American families.

Mas wasn’t planning on following in his father’s footsteps. He attended the University of California at Berkeley in the early 1970s, thinking he’d escaped the sweat and labor. “I studied something that I thought would never bring me back to the farm: Sociology, he says. “But it got me to study how a plant grows and everything around the peach” – the whole community of people and processes that produce the fruit.

He ended up embracing the sociology of farming as part of the ecosystem that connected humans to the Earth. And maybe Cal helped lead Mas to be an early adopter of organic farming.

“When I was growing up it was somewhat conventional. At the time fertilizers and pesticides were expensive. When we were transitioning to organics, I relied on my father’s experience of farming. It was much simpler.”
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Cross-cultured leader keeps Asahi Foods’ promise of perfect sushi fish

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DSC_3297It’s cold outside, but it’s colder in Asahi Foods’ refrigerated cutting room, where stacks of cardboard and Styrofoam boxes filled with giant fish await. The fish cutter is in early on a Saturday, wearing a white lab coat and heavy rubber gloves, various razor-sharp knives at the ready.

Charlene Thai, a tiny woman in a similar lab coat, hovers nearby, watching over the daily cutting ritual that begins the flow of fresh-cut fish for sushi and sashimi to 200 restaurants in Colorado and surrounding states.

“If you see our tuna, it’s clean-cut, like a machine,” she says. “It’s not just the texture, but the clean cut that matters. If it’s not right, our customers can return the tuna and say ‘this is not the way I want it to be cut.'”

Thai is Asahi Foods’ general manager, and oversees two dozen employees, including the fish cutter as he tosses a headless 70-pound tuna onto an enormous cutting board and first trims off the collar and tail. He guts it from underneath, then hacks along spinal column to slice the fish all the way through. Then he deftly cuts the tuna neatly into filets about equal size, about 15 pounds each. They get gingerly arranged on trays and will be wrapped, labeled and delivered to sushi chefs up and down the Front Range.

Hapa Sushi owner Mark Van Grack was Thai’s first customer when Asahi Foods launched five years ago, although he didn’t realize it.

“But I do remember meeting her when she came in to take some of our fish business, and I really liked her right away,” he says. “I thought she was a lovely, bubbly woman. ”

Since that day, Asahi Foods has been “one of our biggest suppliers.”

Van Grack credits Thai’s commitment to customer service for Hapa’s bond with Asahi Foods.

“One of the reasons we’ve had such a good relationship is that she has the same mentality about her customers that we have for our customers,” he says. “We want everything to be right 100 percent of the time, which is impossible, but it’s what we do when something’s not 100 percent that’s what’s important. Charlene has the attitude of ‘we’ll do whatever it takes to make it right.’ ”

Tokio chef Miki Hashimoto, who serves sushi and ramen from his restaurant in the shadow of Coors Field, has known Thai for years and says he buys from her because he respects her. “She’s loyal and has a wonderful personality,” he says. “I trust her.”

That’s why it’s important to Thai to make sure the fish is cut cleanly — just right for her customers.
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Meet Leroy Chiao, a real-live AAPI astronaut

Note: This post was originally published on AARP’s AAPI Community Facebook page.

26-_MGL0235“The Martian” starring Matt Damon as an astronaut stranded on the Red Planet curiously won the Golden Globe Award in December as the best musical or comedy (hint: it’s really not either, though there’s some funny lines) but on Oscar night, despite being nominated for six awards; the Academy Awards left the movie stranded.

The lack of awards hasn’t hurt the film, which is also now available on DVD, Blu-Ray and streaming services. It’s a commercial hit.

But it took some critical hits when it was originally released in 2015, because two of its characters, who were Asian American in the bestselling book by Andy Weir, were played by Caucasian and African American actors on the big screen.

The switch was called “whitewashing” by Asian American groups who accused director Ridley Scott of depriving Asian American actors of significant roles. Both characters kept their Asian names from the book – one NASA scientist is named “Park” and her background is never explained while the other is named “Kapoor” and is explained in the film as half black and half South Asian.

The lack of Asian Americans and Pacific Islanders in Hollywood is an old complaint, and especially in the science fiction genre. George Takei’s “Sulu” in the 1960s Star Trek series and subsequent films is a big exception. As an example, the “Star Wars” franchise features scant few Asian faces (unless they’re ugly aliens who dress and sound vaguely Asian). It’s as if in the future, Asians just never make it into space.

That lack of role models didn’t stop Leroy Chiao, who is one of only a handful of Asian Americans who have flown in space as a NASA astronaut. He flew on three Space Shuttle flights and was Commander of the Expedition 10 crew and lived on the International Space Station.

Chiao grew up in the Baby Boomer era when Asians weren’t generally included in mainstream American culture (except as the Chinese cook in “Bonanza,” the POW houseboy in “McHale’s Navy” and Kato, the martial arts-fighting chauffeur in “Green Hornet”). So he didn’t really think he was being ignored with the lack of role models.

He didn’t need an Asian role model to find his calling: after he watched Neil Armstrong make his historic moonwalk, young Chiao was hooked.

“When we landed on the moon in 1969, I was 8 years old. I was building model airplanes and model rockets even before we landed. When we landed, I thought ‘wow, that’s where I want to be.’ That’s where it started in my mind.”
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Building bridges with the Muslim community

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Late last year, Erin and I were lucky enough to travel to New York City to see the Broadway musical “Allegiance” starring George Takei. It’s a story about the incarceration of Japanese Americans during World War II, and it vividly and powerfully brings to life the emotional toll of the experience on JAs for generations since then. I wrote about the play and interviewed Takei and others for AARP’s AAPI Community.

Two nights after attending the show and while we were still in New York, the Paris attacks happened. The next day, we had scheduled a visit to the 9/11 Memorial and museum in lower Manhattan. Like the way “Allegiance” evoked the racial hatred against my community 75 years ago, it was a powerful reminder of the tragedy of Sept. 11, 2001. There’s a lot in the museum exhibit about the terrorists who committed the acts, and the aftermath that included hate crimes, not just against Arab Americans but also Sikh Americans. I saw a photo of the slogan that someone put up on a banner in the Ground Zero site: “United We Stand.”

The rest of the day, I was haunted by the 1970 hit song, “United We Stand” by a group called the Brotherhood of Man: “United we stand, divided we fall; And if our backs should ever be against the wall; We’ll be together, together, you and I…”

The song was widely played in the days after 9/11, though most people probably missed the spirit of uniting with Arab Americans and Muslim Americans.

I was proud that JACL, the Japanese American Citizens League, held a press conference within days after 9/11 to decry violence against Arab Americans. We were the first voices nationally to warn against racial profiling in the wake of the attack, because we knew too well the potential disaster that can be sparked by fear and ignorance.

Unfortunately, there were hate crimes committed in the wake of the 9/11 tragedy, including against Sikh Americans, who aren’t even Muslim. And some commentators supported rounding up Arab Americans into concentration camps just like the Japanese Americans during WWII.

Sadly, the hatred and fear that was aimed back then at Arab Americans, Muslims, Sikhs, South Asians and anyone who might represent “the Other” are back.
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George Takei’s “Allegiance” is a timely historical musical for today

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After a November performance at the Longacre Theatre in New York’s fabled Broadway district, AARP members were invited for a “talkback” with George Takei and other cast members answering questions about their powerful musical, “Allegiance.” (NOTE: This post was riginally uploaded to the AARP AAPI Community Facebook page.)

“I remember we started the school day, each day, with the Pledge of Allegiance to the flag. I could see the barbed wire fence and the sentry tower right outside my school house window as I recited the words, ‘with liberty, and justice for all.’”

Takei recalled his experience as a child, sent with his entire family to a concentration camp along with more than 110,000 people of Japanese descent – including, like Takei, half who were born in the US and therefore American citizens – during World War II.

Now, at age 78, Takei is pledging again, making his Broadway debut in “Allegiance,” which tells the story of Japanese American incarceration inspired by Takei’s childhood. The parallels between the 1940s incarceration and the national mood today are striking. The news is filled with politicians speaking out against accepting refugees from the Middle East, and some are stoking a palpable fear within the public over Muslims.

Takei has spoken out eloquently on his vast social media networks in response to the hate-filled climate – he even invited David Bowers, the mayor of Roanoke, Virginia to come see a performance of “Allegiance” after the mayor announced he didn’t want any Syrian refugees in his city, and cited the Japanese American incarceration as a model. The mayor said the threat from ISIS via refugees is “just as real and serious as that from our enemies then.”

Takei criticized the mayor for his “galling lack of compassion” and added, “…one of the reasons I am telling our story on Broadway eight times a week in ‘Allegiance’ is because of people like you. You who hold a position of authority and power, but you demonstrably have failed to learn the most basic of American civics or history lessons. So Mayor Bowers, I am officially inviting you to come see our show, as my personal guest. Perhaps you, too, will come away with more compassion and understanding.”

Educating the public about what happened to Japanese Americans during World War II, when 120,000 people of Japanese heritage (half were US-born American citizens) were removed from the West Coast and sent to nine concentration camps as far east as Arkansas, is one of Takei’s lifelong goals. His family spent the war years in Rowher, Arkansas.

“I’m always shocked when I tell the story (of Japanese American incarceration) to people that I consider well-informed,” he said, “and they’re shocked and aghast that sometime like this could happen in the United States. It’s still little-known. So, it’s been my mission to raise the awareness of this chapter of American history.”

“Allegiance” accomplishes Takei’s goal with Broadway grandeur that matches any hit musical, with songs that soar and tug at heartstrings, tight choreography and a storyline that is familiar to many Japanese Americans, but not to the public at large.
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