A diptych showing a "Hapa Project" participant's answers to the question, "What are you?" On the left, the participant is shown in 2001, and then again in 2025 on the right.
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Kip Fulbeck
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Topline:
To honor the 25th anniversary of "The Hapa Project," artist and photographer Kip Fulbeck brought the series back by revisiting around 150 original participants to see how their thoughts about being mixed race have changed over time.
About the project: Fulbeck started the project in 2001 — with the original installation featuring photos from about 1,200 people. The creative concept for the project consists of him photographing people who identify as hapa in the same way — from the collarbone up and without any external identifiers like clothing, jewelry or glasses. After taking their photo, he then has them "handwrite a response to the question, 'What are you?," which he stresses he never censors what his participants write in their responses.
More details: Meaning "half" in Hawaiian, the word "hapa" first entered the Hawaiian language in the early 1800s. Originally used to describe individuals of mixed Hawaiian and European ancestry, hapa has since grown to encompass those of mixed Asian descent, often someone who is half Asian or Pacific Islander and half white. While not inherently derogatory, there is some debate around the appropriate use of the word outside of its original Hawaiian context. That debate has captivated Fulbeck for decades.
Read on... for more details of the 25th anniversary of "The Hapa Project."
Meaning "half" in Hawaiian, the word "hapa" first entered the Hawaiian language in the early 1800s. Originally used to describe individuals of mixed Hawaiian and European ancestry, hapa has since grown to encompass those of mixed Asian descent, often someone who is half Asian or Pacific Islander and half white.
While not inherently derogatory, there is some debate around the appropriate use of the word outside of its original Hawaiian context.
That debate has captivated artist and photographer Kip Fulbeck for decades. As a hapa person himself — his mother is from China and his father is of English, Irish and Welsh descent — growing up half Chinese and half white was not easy for Fulbeck.
Raised in Covina, California, a city in the San Gabriel Valley region in Los Angeles County, Fulbeck told Morning Edition that he was considered "the white kid" at home and among his family, but known as "the Asian kid" at school. Checking boxes for his ethnicity as a child was a regular point of contention.
"I would check white sometimes. But then I was obviously not passing for white, and so I would check one, check the other. Sometimes there would [be] this other box that said 'Other, please explain,' and I would just write 'no.'" he said. "And it wasn't until, I think, 2000 where the U.S. Census actually allowed to check more than one box. So for 35 years of my life, I wasn't able to even legally do that."
It was this examination of his own identity that served as inspiration for creating "The Hapa Project."
"The Hapa Project" is a series of portraits of people who identify as multiracial. Each photo is accompanied by the subject's handwritten answer to a question about their identity. Fulbeck started the project in 2001 — with the original installation featuring photos from about 1,200 people. The creative concept for the project consists of him photographing people who identify as hapa in the same way — from the collarbone up and without any external identifiers like clothing, jewelry or glasses. After taking their photo, he then has them "handwrite a response to the question, 'What are you?," which he stresses he never censors what his participants write in their responses.
To honor the 25th anniversary of "The Hapa Project," Fulbeck brought the series back by revisiting around 150 original participants to see how their thoughts about being mixed race have changed over time.
In some participants' "before" and "after" portraits, changes in self-perception can be perceived alongside changes in physical demeanor.
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Kip Fulbeck
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Alongside physical changes in the before and after photos, "you also see these changes in attitude as we sort of mature and grow and change as adults," Fulbeck said.
In one portrait, the person wrote for their original photo, "What am I? Shouldn't you be asking my name first?" In their revisited photo, they wrote, "Hey! I'm Christine. Nice to meet you, too."
When "The Hapa Project" first launched, it initially sparked a varied response. Some — particularly those who identified as multiracial — found the project to be a valuable affirmation of their identities and a challenge to racial stereotypes. Others, however, questioned the appropriation of the term "hapa" by those without a direct lineage to the Hawaiian context from which it originated.
For Fulbeck, the sheer exploration of the hapa identity is the entire point.
"I've had people say, 'hapa means this.' Or, 'no, hapa means this,'" he said. "To me, it's not our place to tell someone else who they are. You're the only person who gets to define who you are. You get to say that."
The reclamation and reinterpretations of the word hapa are present in a majority of "The Hapa Project" portraits, and Fulbeck thinks it represents an evolution of how people have come to feel about themselves and the way the world sees them.
"Identity is internal, but it's also this external way we relate to others. And I think as we become more comfortable in our own skin and our place in the world and where we fit in, that depends on where you're living, too," he said.
Nearly 10% of people in the United States are of mixed race, according to the latest census. That is a 275% increase from just a decade before, and is only expected to grow. The states with the largest multiracial populations in the country include California, Texas and New York.
As the number of people in the U.S. who intermarry gets larger and larger, Fulbeck's advice for parents raising hapa kids is a "million-dollar question."
"As a parent myself, I ask myself this all the time. People have asked, 'Do you talk to your kids about being hapa?' And I was like, 'I don't … because they're dealing with dad doing this all over the world. They don't want to hear about this.' My kids — they want to play Fortnite. They just want to be kids," he said. "So I always just tell parents, you just got to love your kids. Be open to them. When they want to explore it, then be willing to do it. But you can't sit there and force it."
While Fulbeck's advice for raising hapa kids isn't so definite, his opinion on the importance of defining yourself and determining your own identity is certain. "If you don't say who you are and define it correctly, other people are going to do it for you, and they're going to do it wrong," he said.
"The Hapa Project" relaunched on May 23 at the Museum of Us in San Diego and will make additional stops at the Museum of Chinese in America and Waseda University later this year.
The broadcast version of this story was edited by Ashley Westerman. The digital version was edited by Treye Green. Copyright 2025 NPR
Jordan Rynning
has been following this case for months, including interviewing the man at the center of allegations.
Published October 31, 2026 7:00 AM
Michael Angel Alvarez, 41, spoke with LAist on Sept. 16, 2026, about the federal body armor case against him being dismissed.
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Jordan Rynning
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LAist
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Topline:
The L.A. County District Attorney’s office dropped its felony body armor charges against Michael Angel Alvarez earlier this week. Alvarez was sentenced to time served on a lesser charge — a probation violation. He served more than 100 days in jail earlier this year while awaiting trial.
Most serious claims haven’t materialized: Though federal prosecutors made headlines claiming in court documents and on social media that Alvarez was “leading a violent street gang, while claiming to be a gang interventionist for the City,” they have not filed charges related to those claims.
The Los Angeles County District Attorney’s Office dropped its felony body armor charges against Michael Angel Alvarez on Wednesday. Alvarez was sentenced to time served on a lesser charge — a probation violation. He had served more than 100 days in jail earlier this year while awaiting trial.
Why Alvarez’s arrest made headlines: Alvarez was working as a city-contracted peace ambassador in MacArthur Park when he was arrested by federal agents in May. Federal and county prosecutors each brought felony charges against him, claiming he was in possession of body armor as a violent felon.
Bill Essayli, who leads the U.S. Attorney’s office in L.A., pointed to the case on social media to criticize city officials for allowing taxpayer money to be “shelled out to a convicted gang murderer.”
About his criminal record: Judges in federal and state court have now dismissed prosecutors’ felony charges against Alvarez, after U.S. District Judge Anne Hwang found on Sept. 9 that Alvarez did not have a violent felony conviction. Alvarez was 15 when he committed a gang-related murder. He was tried and convicted as an adult in 2002. After a change in state law increased the age at which minors could be sentenced as adults to 16, Alvarez’s case was sent back to juvenile court, and he was released in 2024. At that point, he had served more than 20 years.
A federal judge ruled Tuesday, Oct. 7 that Republican Bill Essayli is not legally serving as the top U.S. prosecutor in Los Angeles.
The ruling is the latest roadblock to the Trump administration’s effort to extend handpicked acting U.S. attorneys beyond the 120-day limit set by federal law. The strategy was designed to bypass confirmation by the U.S. Senate — something that generally requires a degree of bipartisan support.
Essayli “is unlawfully serving as a ‘de facto’ United States Attorney,” U.S. District Judge J. Michael Seabright wrote.
The order won’t take effect until the court rules on the government’s motion for a stay pending appeal. Essayli said he doesn’t agree with the court’s order. He said the president and Attorney General “have every right to select supervisors within the Justice Department.”
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Mariana Dale
explores and explains the forces that shape how and what kids learn from kindergarten to high school.
Published October 31, 2026 5:00 AM
Myrna Velasco (left) performs as Dolores Huerta in “¡Sí Se Puede!” at Boyle Heights City Hall on April 2, 2026.
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Carlin Stiehl
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LAist
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Topline:
An all-ages play about the life of Dolores Huerta and other under-told stories of the farmworker labor movement is back on tour in Los Angeles.
The backstory: Center Theatre Group commissioned ¡Sí Se Puede! from Eliana Pipes in March 2025 and it debuted in L.A. this spring. “There's this perception that farm work was only done by men,” Pipes said. “There were women on the fields, there were women on the picket lines, and there were women in leadership in the United Farm Workers movement.”
An all-ages play about the life of Dolores Huerta and other under-told stories of the farmworker labor movement is back on tour in Los Angeles.
The show's extension had been announced prior to the news that Huerta died Wednesday, Oct. 28., at her Bakersfield home. She was 96 years old.
“There's this perception that farm work was only done by men,” said playwright Eliana Pipes. “There were women on the fields, there were women on the picket lines, and there were women in leadership in the United Farm Workers movement.”
Center Theatre Group commissioned ¡Sí Se Puede! from Pipes in March 2025 and it debuted in L.A. this spring.
CSULA seeks memories from underground music scenes
Adolfo Guzman-Lopez
is an arts and general assignment reporter on LAist's Explore LA team.
Published October 31, 2026 5:00 AM
CSULA is seeking memorabilia from LA's underground music scenes for its research archives.
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Courtesy Special Collections and Archives, University Library, California State University, Los Angeles.
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Topline
There’s a whole world of underground Southern California music history that’s hidden in storage boxes — photos, fliers, cassettes and other memorabilia. Research librarians at the California State University, Los Angeles are holding a community archive event on Nov. 5 to ensure the cultural memory of L.A.’s underground music scenes are preserved for future generations.
Why it matters: The memorabilia are the physical remnants of the supportive L.A. communities built around music and enjoyment. But many of these objects languish out of sight, and run the risk of being lost, along with the memories attached to them.
Why now: For four years, archive staff have held an annual day to receive ephemera from the public. They're doing it again on Thursday, Nov. 5.
Read on… to hear how goth, rockabilly and other underground clubs in L.A. inspired the head archivist.
Right around the year 2000, there was a club night in Hollywood called Clockwork Orange. Fans of The Smiths, Depeche Mode, Bauhaus and other bands came for the DJ’s mix of their favorite songs but also for a vibe that welcomed people regardless of race, ethnicity or sexual and gender identity.
“I was a pretty shy person, and so that was a place where I could sort of be myself and express myself,” said Azalea Camacho, a regular there in those days.
She had just graduated from Workman High School in the City of Industry and was also clubbing at rockabilly music nights in Rosemead and goth club nights in downtown L.A.
Camacho said there was lots of memorabilia from those times, such as photos taken in and outside the clubs, ticket stubs and promotional fliers. They're the physical remnants of those supportive communities built around music and enjoyment, but many of them languish in shoeboxes and storage units, at risk of being lost — along with the memories attached to them.
Cal State LA has hosted Sounds of the Underground Archive for the last four years. It's an opportunity for people to donate their underground music scene memorabilia.
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Courtesy Special Collections and Archives, University Library, California State University, Los Angeles
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“I think the danger is maybe those stories are not being told, or people don't know about the story,” she said.
Keeping stories alive
More than two decades later, Camacho is now in a position to make sure those stories are kept alive. She’s head of special collections and archives at the university library at California State University, Los Angeles.
Four years ago, she and library staff created an annual day for area residents to donate or digitize memorabilia for their Sounds of the Underground Archive. This year it's on Thursday, Nov. 5. They’ll accept physical donations, but they’ll also have a scanner to digitize printed material, so people can keep items that are precious to them.
SOUNDS OF THE UNDERGROUND ARCHIVE
Date: Thursday, Nov. 5 Time: 2 p.m. – 5 p.m. Location: Cal State LA Library Community Room, 5151 State University Drive, Los Angeles
Camacho is hoping this year will bring in a bumper amount of memorabilia. It's taken time to get the word out, she said.
“From the actual community archiving day [we’ve collected] maybe 100 or less than 100 items. … It's not a lot,” she said.
She said they're on the lookout for a wide range of mementos, including:
Fliers
Handbills
Zines
Newsletters
Posters
Set lists
Photographs (prints, negatives or digital files)
Cassette tapes, CDs, or vinyl records
Ticket stubs
Wristbands
Band merchandise (stickers, buttons, patches, T-shirts)
DIY press kits or liner notes and correspondence (letters, emails, messages related to music scenes)
Venue or collective ephemera (membership cards, schedules, announcements and more)
