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Renowned Dallas journalist and bestselling author Hugh Aynesworth has died

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Renowned Dallas journalist and bestselling author Hugh Aynesworth has died


Hugh Grant Aynesworth was, as the title of his first book declared, “a witness to history.”

For such an amiable — even soft-spoken — man, Aynesworth had a resumé of news stories and investigations that reads like a chronicle of the past 60 years of American violence and trauma. He personally saw and covered the assassination of John F. Kennedy and the arrest and shooting of Lee Harvey Oswald. In 1993, he covered the Branch Davidian siege at Waco. He reported on the 1995 bombing of the federal building in Oklahoma City which killed 168 people.

Over the course of a year, he and a partner interviewed serial killer Ted Bundy in a Florida prison in 1980 while Bundy’s murder convictions were still being appealed.

On November 12 this year, after Aynesworth was admitted to the UT Southwestern emergency room, doctors determined he had suffered a stroke months before. After a week at the hospital and a week in rehab, he returned home on November 25.

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Earlier this month, his wife, Paula Aynesworth, decided he needed to enter hospice care.

He died Saturday at home. Aynesworth was 92.

Remembering a storied career

In 2007, Aynesworth summed up his years as a journalist at the 15th Annual Harrison County Student Achievement Banquet in his hometown of Clarksburg, West Virginia.

“I’ve been offered bribes and threatened and maligned and witnessed some of the most horrifying events of our lifetime.”

Aynesworth added, “It’s been a strange life. It’s been so much fun, and I’ve been so very fortunate.”

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“Personally, I don’t know that there’s ever been a better reporter to come out of Dallas, really,” said Robert Mong, president of the University of North Texas at Dallas and former editor-in-chief at The Dallas Morning News.

Published in 2013, “November 22, 1963: Witness to History” was Aynesworth’s summary of that day and the behind-the-scenes story of how he, in 36 hours, witnessed the assassination of Kennedy, the arrest of Lee Harvey Oswald and the shooting of Oswald by Jack Ruby.

“What strikes me about Hugh was that he could walk the halls of power easily enough, get people to confide in him,” said Jim Schutze, former longtime city columnist for the Times Herald.

Schutze came to Dallas in 1978. He said he’d heard, even before he arrived, that Aynesworth was a reporting legend.

“He had some years on the police beat under his belt, and he could also go talk to a bunch of striking coal miners around a barrel fire. He had a full, 360-degree compass,” Schutze added.

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In addition to interviewing Ted Bundy, Aynesworth played a major role in debunking another infamous serial killer. In 1986, he and fellow Dallas Times Herald reporter Jim Henderson exposed convicted serial killer Henry Lee Lucas as a fraud. Lucas, a drifter in jail for two killings, had convinced Texas Rangers — and other law enforcement officials across the country eager to close long-cold cases — that he had improbably managed to murder more than 100 women.

On tape with Aynesworth, Lucas said the total number of victims, male and female, was “360, minimum.” That later became 600.

Aynesworth and Henderson proved this was physically impossible: Lucas would have had to drive his Ford station wagon 11,000 miles in a single month, while managing to stop repeatedly along the way to kill the occasional victim. On the date of one murder in Houston, Aynesworth and Henderson proved Lucas was in jail in Maryland at the time.

It’s now believed that, at most, Lucas killed three people. He was a fabulist who just liked the attention and the milkshakes that came with telling police what they wanted to hear.

Later that year, Aynesworth and Henderson were finalists for the Pulitzer Prize for investigative reporting.

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“I have always felt that they should have won the Pulitzer Prize for revealing the hoax of Henry Lee Lucas,” said Mong.

In total, Aynesworth was a Pulitzer finalist four times.

Schutze also recalled that, in his early days at the Times Herald, he began hearing tales about how Aynesworth was so good at his job because he was getting scoops handed to him. He was on the FBI payroll.

Schutze took his concerns to an editor.

“He said, ‘Hugh doesn’t work for the FBI. The FBI works for Hugh.’ He said, ‘Hugh could sit down with these guys, and they thought, after one drink, he was an FBI agent.’”

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Schutze said that whatever else he was — book author, editor, Newsweek bureau chief — “Hugh was just a very, very, very good reporter.”

Hugh Aynesworth on Kennedy conspiracy theories

Aynesworth was a throwback as a journalist — not just to the days before 24-hour cable news and the internet, but to when college journalism programs were rare and no one had heard of media studies. In the late 1940s when Aynesworth started working, reporters typically got their on-the-job training at a local paper covering city hall or the police beat.

Which is precisely how Aynesworth began. Raised by his mother, who had to take in laundry to make ends meet, he graduated high school in Nutter Fort, West Virginia, and attended that state’s Salem College — for one semester. He dropped out and in 1948 started as a freelancer for the Clarksburg Exponent-Telegram (current print circulation: 17,000).

Although he became known for his true crime reporting, over the course of his 70-year career, Aynesworth was much more: a daily news reporter, a 23-year-old managing editor, a business writer, a sports editor, an investigator for the ABC News program 20/20, and the author of two books — November 22, 1963: Witness to History and JFK: Breaking the News. He also co-authored seven more with Stephen Michaud, including The Vengeful Heart and Other Stories and Ted Bundy: Conversations with a Killer.

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Aynesworth’s most recent project in 2019 was a four-part Netflix documentary on Ted Bundy. He served as a producer on the series — his third effort as a TV producer.

Conversations with a killer

Interviewing Bundy in 1980 while the serial killer awaited his appeals on the Florida death row was Aynesworth’s first collaboration with Michaud, his writing partner. Michaud said the ‘charismatic killer’ had sought out journalists to tell his story because the cases against him were entirely inferential and circumstantial. This was before the widespread use of DNA testing, and there was no forensic evidence directly tying him to the murders. Bundy had been called “the killer with no fingerprints.”

In addition, Bundy “was contemptuous of the press,” Michaud said. He had a degree in psychology and was convinced he was smart enough to use the two reporters to find exculpatory evidence to save him from the death penalty.

In their interviews, Bundy simply would not admit to the killings or to anything about them. Frustrated, Michaud and Aynesworth changed tactics. They asked him to speculate about the ‘real murderer’ — what might have motivated him, how could he be so successful.

It worked. Eagerly, Bundy started to divulge details of the killings: his methods, his upbringing and his own psyche.

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Co-authors Stephen Michaud and Hugh Aynesworth

Conversations with a Killer: The Ted Bundy Tapes

Stephen Michaud and Hugh Aynesworth, co-authors of “Ted Bundy: Conversations with a Killer.”

Michaud said he learned to flatter Bundy, play to his narcissism. Bundy may have been smart, but “Ted was emotionally about 12.”

“Then Aynesworth went in and said, ‘Well, I didn’t buy any of that. I want to talk to you about it.’”

He bluntly asked Bundy to go through it all again, explain it to him: Why would any rational person do some of the grisly things this killer had done to his victims?

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“It was classic ‘good cop, bad cop,’” Michaud said.

The two had Bundy talking for more than 100 hours over the course of a year. While Michaud continued editing the results, Aynesworth checked out the leads. They uncovered nothing to contradict Bundy’s guilt.

Their book, Conversations with a Killer, was a New York Times bestseller.

In 2019, Aynesworth discussed his dealings with Bundy in a public interview for the The Dallas Morning News.

“We did not get along,” Aynesworth recalled. “He was killing young girls. And at that time, I had two beautiful young daughters.”

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Michaud said that, as a self-taught interviewer, “Hugh had infinite patience. He would listen and listen. He’d be waiting until whatever tension there might have been dropped away, and they were just chatting. And then he’d say, ‘Well, what about this?’ And the guy or woman would say, ‘Oh [expletive], this guy knows more than I thought he did!’ And then Hugh would go back through it again and again.”

“I don’t want to use the expression ‘good old boy charm,’” Michaud said. “But that’s what he had.”

“Then the other part was that Hugh was an absolute natural snoop. There was nothing that he didn’t want to get his nose into. He taught me how to read upside down. He constantly picked up stuff. It was this kind of immediately making himself at home and making the other person at home. I had done a lot of interviewing, but I’d never seen anything like it.”

Hugh Aynesworth interviewing Marina Oswald with her daughter, June Lee, between them.

Tom C. Dillard

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The Sixth Floor Museum at Dealey Plaza

Hugh Aynesworth interviewing Marina Oswald with her daughter, June Lee, between them.

Covering the Kennedy assassination

In 1963, Aynesworth left a job with United Press International in Denver to become the aerospace reporter for The Dallas Morning News. On November 22 of that year, the 32-year-old Aynesworth walked over from the newspaper’s offices to Dealey Plaza to witness the passing motorcade of President John F. Kennedy.

“I was proud, really, that they were giving him such a welcome,” Aynesworth recalled later for the KERA TV documentary JFK: Breaking the News. He was pleased at the city’s enthusiastic reception for the liberal, Democratic president whom several prominent Dallasites — including the owner of The Dallas Morning News — had publicly opposed and mocked.

“You know,” he heard one person in the crowd say, “With all the ruckus, with all this hatred in the city, I’m amazed he came. I’m amazed he had the guts.”

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Then, as Aynesworth reached Elm Street, he heard what sounded like a motorcycle backfiring. Then two more — now, clearly, the sound of gunshots.

“I almost tear up sometimes when I think about what happened, and the feeling and the gut wrenching, not knowing what to do,” he said in JFK: Breaking the News. “But it was so stark and so brutal. A beautiful day just turned into chaos.”

Aynesworth had no paper or pen with him but knew he had to start interviewing eyewitnesses. Using a pencil he bought from a young boy, he started writing his notes on an electric bill and a gas bill he had in his pocket

In addition to his original, on-the-scene interviews, Aynesworth was the first to interview Marina Oswald, the alleged assassin’s widow. He was also the first to break the news of Oswald’s suicide attempt, as well as his escape route from Dealey Plaza — facts the FBI had not released.

The assassination and its aftermath shaped much of his subsequent career. Throughout the ’60s and early ’70s, Aynesworth became so immersed in tracking down even the most outlandish claims, that the late Nora Ephron profiled Aynesworth and Times Herald reporter Robert Dudney in a 1976 Esquire feature, The Assassination Reporters. It was later collected in her book, Scribble, Scribble.

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One of Aynesworth’s biggest scoops about the assassination was the publication of diaries Oswald had written while in Russia — and which the Warren Commission had not released. But, for the most part, the two reporters regularly answered four assassination-related calls a day from people, most of whom Aynesworth called “flakes.”

“I’ve heard five or six people confess that they were part of a conspiracy to kill Kennedy,” Aynesworth told Ephron. “Only it turns out that they were in jail, or in a loony bin in Atlanta, at the time. There were about 500 people in Dealey Plaza that day. In twenty years, there’ll be ten thousand.”

Hugh and Paula Aynesworth

Hugh and Paula Aynesworth at the Press Club of Dallas Awards

Ephron noted the topsy-turvy nature of Aynesworth’s work. No one wanted to uncover an assassination conspiracy and disprove the Warren Report more than he did. Investigative reporters typically work hard to bring such plots to light: “Aynesworth spent much of his time knocking them down.”

By the time of the 50th anniversary of Kennedy’s death, he’d long since become a go-to eyewitness, a frequent public authority on the topic and an outspoken debunker of the many alternative theories of the JFK assassination.

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“So many people just want to be somebody,” he said in Breaking the News. “Sort of like Oswald and Ruby. They wanted to be somebody. That’s the same way with a lot of eyewitnesses.”

His most public effort at debunking came with the early conspiracy plots promulgated by New Orleans district attorney Jim Garrison. Garrison’s version of events became enshrined in the 1991 Oliver Stone film, JFK.

Garrison originally asked Aynesworth for help. Although, by that time, the journalist had moved to Houston, hoping to put the assassination behind him. But he soon saw in his investigations that Garrison had developed an elaborate and variable version of events. As soon as Aynesworth knocked down one source, one suspect, one theory, Garrison had another.

By 1967, Aynesworth wrote in Newsweek: “Jim Garrison is right. There has been a conspiracy in New Orleans — but it is a plot of Garrison’s own making.”

In the end, after decades of intense scrutiny by forensic experts, journalists, federal investigators and assassination buffs, much of Aynesworth’s basic narrative timeline and his reporting on the Kennedy assassination have held up.

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Aynesworth joined the Press Club of Dallas in the early ’60s. He served as its president in 2007. In 2017, the group named its award for excellence in journalism after Aynesworth.

Hugh Aynesworth has been married to Paula Aynesworth, née Paula Kathleen Butler, since 1987. She worked for KERA for 34 years as a sales executive. Aynesworth was previously married to Paula Ruth Eby (1962-1977) and Leslee Marie May (1980-1983). He and Paula Eby had two daughters, Allyson and Allyssa, and a son, Grant, who died in 2016. Aynesworth has four grandchildren.

Plans for a memorial service have not been announced.





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Why do the Dallas Cowboys and Detroit Lions always play on Thanksgiving?

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Why do the Dallas Cowboys and Detroit Lions always play on Thanksgiving?


When you think of Thanksgiving, certain images probably spring to the forefront of your mind. There’s undoubtedly a table full of food, whether it’s an idealized version à la Norman Rockwell or something more akin to real life. And, for many families, football is probably a part of that equation.

Over the years, the NFL has successfully staked its claim to Turkey Day, with the Detroit Lions and the Dallas Cowboys becoming as much as of a holiday fixture as turkey and stuffing. But have you ever wondered why they’re ever-presents?

As with many other seasonal mysteries, it largely comes down to tradition.

Composite image of Dallas Cowboys and Detroit Lions coaches and players. The two NFL rivals are as much a part of Thanksgiving as turkey and stuffing.

Photo-illustration by Newsweek

Why Do the Cowboys Play Every Thanksgiving?

There are plenty of cliches about how you can’t get an opportunity without asking for it. Former Cowboys president and general manager Tex Schramm apparently took that to heart.

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As laid out in a 2021 Dallas Morning News post, Schramm volunteered his team for a second Thanksgiving Day game (the Lions, as we’ll discuss shortly, were already playing on the holiday). The offer, however, came on one condition: the Cowboys would play that contest at home.

The gambit promptly paid off. Dallas took to the field on Thanksgiving 1966 and beat the visiting Cleveland Browns 26-14. To make things even sweeter for Schramm, more than 82,000 fans piled into the Cotton Bowl to watch the game.

The Cowboys have played away from home twice, in 1975 and 1977, but those games were outliers.

Why Do the Lions Play Every Thanksgiving?

When the Cowboys entered the Thanksgiving Day picture, they were the new kids on the block. The Lions, believe it or not, have an even longer history on the holiday.

As explained by the Pro Football Hall of Fame, the tradition dates back to 1934 when George A. Richards bought the Portsmouth Spartans, moved them to Detroit and rebranded the club as the Lions. Looking to make a splash during the initial campaign in the Motor City, Richards not only scheduled a Thanksgiving game against the Chicago Bears, but struck a deal with NBC to broadcast the game across 94 radio stations.

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Detroit lost that day, but the game proved to be a massive public relations success. It was such a hit that barring a break for World War II, the Lions have hosted an annual Turkey Day contest ever since.

Do Other Teams Play on Thanksgiving?

While the Lions and the Cowboys are synonymous with Thanksgiving Day football, they don’t hold a monopoly on the holiday. Since both teams traditionally host home games, two other clubs have to enter the fray to complete the matchups.

The NFL made things a triple-header in 2006, making even more space on the holiday schedule. The Kansas City Chiefs hosted the first edition of that third contest—KC’s founder and original owner had advocated for a third Turkey Day game—but they didn’t become a fixture like Detroit and Dallas. That means two additional franchises get a spot in the limelight each year.

Over the years, every currently active NFL team has gotten a chance to play on Thanksgiving barring one: the Jacksonville Jaguars.

What Was the ‘Thanksgiving Day Massacre?’

When you settle in to watch some festive football, you’re probably rooting for an evenly matched contest, assuming you don’t have any skin in the game. The “Thanksgiving Day Massacre” however, was a bit one-sided.

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That contest took place in 1962, when the defending champion Green Bay Packers visited the Detroit Lions. The hosts jumped out to a 14-0 lead and never looked back.

Detroit’s defense dominated the day, limiting Green Bay to 122 yards of total offense. Quarterback Bart Starr threw two interceptions and took his lumps from the Lions’ pass rush; the finer statistical details are unclear, but he was probably sacked at least 10 times. One of those tackles for a loss resulted in a safety, and another turned into a fumble that Detroit recovered for a touchdown.

While the 26-14 score line doesn’t seem that dramatic, the punishment that the Lions’ defense dished out, the game has earned a place in NFL history as the “Thanksgiving Day Massacre.”

2024 NFL Games: Schedule, Matchups and Times

So, with all of that history established, who will be taking the field on Thanksgiving 2024?

As per tradition, the Detroit Lions will host the early game, facing off against the Chicago Bears at 12:30 p.m. ET on CBS. And while NFL fans will remember years of questioning why awful Lions teams had to play on Thanksgiving, the current squad is certainly worth the watch.

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The middle matchup looked good when the schedule came out, but the New York Giants’ visit to the Dallas Cowboys (4:30 p.m. ET on Fox) has lost some luster. The game is a rivalry, but with both clubs struggling and playing without their opening day starters (Dak Prescott is injured and Daniel Jones has been benched), this one could be a slog.

The 8:30 p.m. ET nightcap (NBC) features the Miami Dolphins and the Green Bay Packers. If you haven’t drifted off into a turkey-fueled nap by then, the game will feature both plenty of talent and some potential playoff implications. It will also be interesting to see if the Dolphins can cope with a chilly Wisconsin evening; Florida teams struggling in cold road games is a bit of a cliché, but Miami didn’t exactly disprove that theory during a freezing playoff game last season.

And, if that’s not enough for you, there will also be a Black Friday game as the Kansas City Chiefs host the Las Vegas Raiders at 3 p.m. ET (Prime Video). If last year’s Christmas Day edition of the classic rivalry is any indication, expect a hard-fought contest with at least a few twists and turns along the way.



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Man who recently tried to enter Dallas church with rifle facing federal weapons charge

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Man who recently tried to enter Dallas church with rifle facing federal weapons charge


A man who recently attempted to enter a Dallas church with a tactical rifle was charged with a federal firearm crime stemming from a 2022 shooting, the U.S. Attorney’s Office for the North District of Texas announced.

Russell Alan Ragsdale, 25, was arrested Friday and made his initial appearance Monday on a possession of a firearm by an unlawful user of a controlled substance charge.

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On Nov. 2, a church reported to Dallas police that Ragsdale was at the location with a gun, according to federal court documents. The church was not named in the filing.

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Based on surveillance footage and witness interviews, officers determined Ragsdale arrived at the church about 5 p.m. while Mass was being celebrated with about 100 church members, according to an affidavit. He entered about 5:05 p.m.

“At 5:07 p.m., [Ragsdale] stood from his front row seat and approached the priest, embraced him and kissed him on both cheeks,” the affidavit says. Ragsdale “handed the priest a note that said, ‘May peace be with you.’”

Ragsdale remained in the church for about five more minutes before returning to his car. He put on a black and white poncho, retrieved a rifle from the trunk of the car, and then closed the three gates to the church parking lot, according to the affidavit. Ragsdale tried to reenter the church with the gun about 5:35 p.m., but parishioners had locked the doors.

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A parishioner talked to Ragsdale outside after he placed the rifle on the ground. Officers arrived a few minutes later and arrested him.

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The arresting officer noted “an odor of alcohol” coming from Ragsdale, the affidavit says.

During this investigation, police learned Ragsdale had been arrested two years ago as a suspect in a Seagoville slaying. He had faced a felony murder charge in the February 2022 killing of his roommate, but the case was later dismissed.

At the time, Ragsdale told police his roommate attacked him so he “shot him many times” in self-defense, according to court documents.

“Officers recovered three firearms, including a 10mm Glock and an AR-15 rifle, and almost two grams of hallucinogenic mushrooms from the residence,” the news release said. ” An analysis of Mr. Ragsdale’s phone showed a history of drug use dating back to November 2021, as well as evidence of purchasing and using hallucinogenic mushrooms on Feb. 2, 2022.”

Pursuant to a search warrant issued, earlier this month Dallas police received copies of information, including messages, from Ragsdale’s phone that indicated he used illegal drugs leading up to the February homicide, according to court documents.

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If convicted, Ragsdale faces up to 15 years in prison.



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‘We are here in Texas’: Dallas Asian American Art Collective puts on its first show

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‘We are here in Texas’: Dallas Asian American Art Collective puts on its first show


A photography print of a man inside a minaret tower. A ceramic chalice. A tissue paper collage illustration from a children’s book. A short film about a trip to Europe with friends.

Each of these pieces of artwork was created by Asian American artists from North Texas and featured in the Dallas Asian American Art Collective’ first annual art show over the weekend.

The co-curators Leili Arai Tavallaei, Jackie Tao Law and Christina J. Hahn, who are all Dallas-based artists, partnered with The Cedars Union where they put on the show.

People explore the exhibit as the Dallas Asian American Art Collective hosts its first annual show at the Cedars Union Dallas on Saturday, Nov. 23, 2024. (Juan Figueroa / Staff Photographer)

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Tavallaei said the collective wanted to reflect the diversity of emerging and established AAPI artists in North Texas. The co-curator is a printmaker, mixed-media painter and animator whose work explores her mixed race identity as someone with parents who are Persian Iranian and Hāfu, mixed Japanese identity.

A lot of people, when they hear of Asian artists, they usually think of international Asian artists that have made it big across the pond,” she said. “We here want to kind of make a statement that we are, in fact, here in the States. We are here in Texas.”

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Law said that distinction of being an Asian American artist matters because being part of the diaspora is an entirely different experience from being Asian.

You end up having this blend of maybe your home culture and then being from wherever you immigrated to,” said Law, who is a first-generation Hakka Chinese visual artist.

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Here are some of the artists who displayed work at the show:

A stillshot from Jorenzo Mallari's video "To Here and Back" shows the Hong Kong Market Place.
A stillshot from Jorenzo Mallari’s video “To Here and Back” shows the Hong Kong Market Place.(Courtesy of Jorenzo Mallari)

Growing up way out east in Tyler, Mallari said his family would travel two hours one-way to get groceries from the Hong Kong Market Place in Dallas. It was part of his family’s Sunday ritual: get a haircut, buy groceries and head home.

Mallari said there’s a “small but mighty” Filipino community in Tyler, but for a long time there wasn’t a space to pick up basic ingredients to make food from his culture.

“When I was a kid, I was annoyed that we would have to be there. But as I got older, I appreciated how important that was, how some of my favorite foods we wouldn’t have been able to make it or they wouldn’t have been my favorite foods had we not gone there.”

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The second-generation Filipino American filmmaker describes “To Here and Back” as a visual tone poem that reflects the immigrant story.

“I think it’s about coming back to a place and seeing how time has changed it even though it’s kind of stayed the same in your head,” he said.

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Dongjing Zhang Berglund poses with her son Gordon, 7, in front of her piece “People...
Dongjing Zhang Berglund poses with her son Gordon, 7, in front of her piece “People Studies,” 2023, Fountain Pen, Fude nib 55 degrees inked with Platinum Carbon Black, during the Dallas Asian American Art Collective’s first annual show at the Cedars Union Dallas on Saturday, Nov. 23, 2024. (Juan Figueroa / Staff Photographer)

Berglund said this last year she focused on “trying to be more Chinese” and returning to her roots. A big part of that has been drawing scenes from everyday life in China, including sketches of three delivery drivers, a night market full of delicious snacks or people waiting in line with thick parkas.

“I was just there about a year ago during the winter when everyone was in the big, puffy jackets which is not something you see in Texas,” she said.

Dongjing Zhang Berglund talks about her piece “People Studies,” 2023, Fountain Pen, Fude nib...
Dongjing Zhang Berglund talks about her piece “People Studies,” 2023, Fountain Pen, Fude nib 55 degrees inked with Platinum Carbon Black, during the Dallas Asian American Art Collective’s first annual show at the Cedars Union Dallas on Saturday, Nov. 23, 2024. (Juan Figueroa / Staff Photographer)

Originally from Beijing, the artist – who works as a web architect by day – now lives in Plano with her family. She sometimes makes sketches from photos and online reference art, which reminds her of how different the scenery is back in China.

“I remember the hutongs, which are the little alleys. I remember wearing my red scarf as a little kid and the yellow hats in elementary,” she said. “Seeing those things in drawings brings back a lot of memories.”

Jae Hyun Choi poses in front of his piece “Immanence,” 2024, Acrylic, pastel chalk on canvas...
Jae Hyun Choi poses in front of his piece “Immanence,” 2024, Acrylic, pastel chalk on canvas sheet, diptych, during the Dallas Asian American Art Collective’s first annual show at the Cedars Union Dallas on Saturday, Nov. 23, 2024.(Juan Figueroa / Staff Photographer)

Choi is a medical student in North Texas by day and artist by night. His colorful, abstract paintings don’t immediately seem to reference language but that’s the inspiration for his work.

He said he incorporates Chinese typography into his pieces as a system that connects Korean and Japanese, the two languages that he speaks.

The artist said he wanted to explore questions like: “How do we represent the world through language? What are some ways that you can kind of twist or distort or play with the form of language to represent the world?”

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Choi said language has been an important way to connect with loved ones.

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“It’s how I feel connected to my family abroad. Whenever I go back to that language context, it feels like coming home in a way,” he said. I feel like so much of Korean culture is bound up in the way language is constructed, in the way you relate to people and honorifics.”

Arts Access is an arts journalism collaboration powered by The Dallas Morning News and KERA.

This community-funded journalism initiative is funded by the Better Together Fund, Carol & Don Glendenning, City of Dallas OAC, Communities Foundation of Texas, The University of Texas at Dallas, The Dallas Foundation, Eugene McDermott Foundation, James & Gayle Halperin Foundation, Jennifer & Peter Altabef and The Meadows Foundation. The News and KERA retain full editorial control of Arts Access’ journalism.



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