traditions his ancestors passed down to him. b.j.: so this is, um, some local blue crab, fresh in season. this is a play on some garlic crabs, but this is shrimp butter instead of garlic butter, and then you have that play of, you know, the french influence into the cuisine right here. anthony: the flavors and textures and food ways of west africa are all over southern cooking. and there are few better places to see how short the line between there and here than gullah culture. anthony: i m really enjoying this, i got to tell you. sean: this is so delicious. ashley: oh my goodness. anthony: how african is traditional gullah cooking? ashley: well, i think what happens is you change the location of the people, but you do not change who the people were. you did not change the information that they came with, with their traditions. sean: if you look at the history of american food and you ll you ll quickly see that this is this is one of the first true cuisines of
ladies. b love s in the house. dragon breath. who you talking to? kid an dplay, who were a musical duo, play two teenagers who were looking to have a fun time. dad s away, let s throw a party. ooh, scandalous! having a movie like that premiere at sundance really showed the possibilities that indie black filmmaking could have. kristin! what? don t answer me what. turn that tv off. i m watching the knicks. i don t care what it is, no tv on a school night! we talked about the spike lee films, john singleton films, but also it was a period where black female filmmakers are making some really interesting things. you have daughters of the dust, julie dash s film, examining the gullah culture, black culture that hearkens back several hundred years. and that movie s beautiful. you also have a movie like just
to european, chances are that food was grown, gathered, produced and prepared by african slaves. chef b.j. dennis has made it a personal mission to celebrate and protect the culinary traditions his ancestors passed down to him. b.j.: so this is, um, some local blue crab, fresh in season. this is a play on some garlic crabs, but this is shrimp butter instead of garlic butter, and then you have that play of, you know, the french influence into the cuisine right here. anthony: the flavors and textures and food ways of west africa are all over southern cooking. and there are few better places to see how short the line between there and here than gullah culture. anthony: i m really enjoying this, i got to tell you. sean: this is so delicious. ashley: oh my goodness. anthony: how african is traditional gullah cooking? ashley: well, i think what happens is you change the location of the people, but you do not change who the people were. you did not change the
indie black filmmaking can have. kristin! what? don t answer me what. turn that tv off. i don t care what it is, no tv on a school night! we talked about the spike lee films, john singleton films, but also it was a period when black female filmmakers are making some really interesting things. you have daughters of the dust, julie dash s film, examining the gullah culture, black culture that hearkens back several hundred years. and that movie s beautiful. you also have a movie like just the girl. you re too cute to be a gentlemen, right? you don t have to be like that. whatever, whatever. it s a quote, unquote hood movie, but a hood movie from the perspective of a young girl. people think of new black realism as the hood genre. but actually there s a range of socioeconomic experience being shown in black cinema of the 90s.